Sentences with phrase «none of one's characters»

Since none of the characters in the show can be trusted, there's nothing for an audience to connect with.
Another funny thing about this is that none of the characters ever feel like they're in a leading role either.
It's too simple and sort of random; none of the characters seem to behave with much thought.
Thus, none of the characters feel like clones of each other.
And some chemistry is definitely needed since none of the characters are interesting enough to stand on their own.
The beauty of the inspired Word is that none of the characters except one is very human and susceptible to poor choices.
As for the bad, for starters, none of the characters really appealed to me in the pilot.
On road the Q2 has lost none of the character of its larger siblings.
In fact, none of the characters who died last week were among the 33 options.
The result is a movie that runs for a bit over two hours and serves none of the characters well.
And none of your characters gives you any clue of what is happening.
The issue here is that none of the characters included feel all that unique.
However, none of the characters in the film possess these qualities — nor are they as deep as the filmmaker would have us believe.
Additionally, none of the characters seemed to be that well rounded.
Although none of the characters start off as the Monster or Robot classes from the previous games, any of the four main characters can become one.
Though none of the characters from the second Injustice 2 Fighter Pack have been officially confirmed, a teaser before the game's release hinted at Aquaman foe Black Manta joining the fray.
In fact, other than John Connor none of the characters from the movie are present in this game.
The blackly comic vibe is both a boon and a bust, as it allows for a good deal of disbelief suspension when the storyline takes a turn to become a «rogue agent» thriller, but it also does severely undercut some of the emotional impact that could have been had when deaths begin to occur and we realize that none of these characters truly mean anything to us, despite the sympathetic build - up of many of them.
Back in 2005, the film's worshipful, impeccable realization of Frank Miller's graphic novels was divertingly original, even if none of its characters looked quite human or breached two dimensions.
None of the characters look as «blocky» as in the original.
Unfortunately, almost none of the characters or scenarios escape feeling contrived under Gregg's bizarro tonal shifts and plot developments, which include sexual abuse, incest, much expletive spouting, one - dimensional studio execs, and one of the most risible endings of any film this side of The Life of David Gale.
None of the characters on this list have been officially confirmed by Nintendo or Masahiro Sakurai to be in the next Super Smash Bros game.
But aside from Segan, none of the characters rise above the level of purely functional placeholder - types, and there are too many scenes that replicate zombie film tropes, minus the passionate invention that other films have brought to the task.
It's not dramatic at all, none of the characters show any personality beyond the obvious and the writing is pretty monotonous.
Most impressively, none of the characters mentioned above (Rev Lovejoy excepted) are simply stereotypical tropes; they are mature humans whose faith is an important part of who they are, but not the only part.
Among evangelical pastors: 27 % said personal character was the most important issue to vote on 20 % said Supreme Court nominees 12 % said religious freedom 10 % said abortion 6 % said the economy 5 % said national security 2 % said immigration 13 % said none of these
None of these characters see or need their father in the same way, and that makes them some of Baumbach's most compelling characters.
In fact, in a seemingly random subplot involving two dogs, there's an interesting sense of dark humor that underlines the noir-esque theme of love working out for none of the characters.
Not reality, not characters you can identify with, not women you might see walking through suburban Atlanta where the film is set (and by the way none of the characters have Georgia accents accept for the cameo from two Atlanta Housewives).
Kristen Stewart is sleepwalking and radiates none of her character's legendary charm, which is made worse by the fact that everyone's always talking about how radiant she is.
But none of the characters play much importance past the slight gravity they impart on Llewyn's orbit.
Redford, who enters haggard and finds his journey all downhill from there, is suitably charismatic and wary; though Wayne never becomes a fully - rounded character (indeed, none of the characters do in this too - thin yarn), Redford makes a good enough conduit for the idea of a man reevaluating his life.
There are probably as many shots of a person looking through a telescope at the action as there is in the action itself (none of the characters bother to check news reports or radio — they just walk outside to look at the action).
Too bad the framework does little more than ensure that none of the characters become more than thin archetypes.
It's all the more odd, because none of the characters seem to have a problem with it, except token girlfriend (Tori Spelling).
Prisoners For a movie where none of the characters really grew or changed, this sucker did a bang - up job of grabbing my attention and not letting go.
Also, though the story takes place over an 18 - year period, none of the characters appears to age significantly.
None of the characters talk, so Gilbert feels these levels are important milestones in elucidating the personality of these individuals.
The movie looks like it could be trashy fun, but none of the characters come across as particularly likeable, just a bunch of entitled dudes cheating on their wives.
None of characters here are based on any specific real - life figures, and as such they fall for the most part into conventional character types; that said, they are all lent human dimension by the actors.
Unfortunately, none of the characters sounds even remotely how you'd expect — Mega Man himself sounds like he's inhaled a copious amount of helium before talking, it's so jarring.
None of these characters emerges as anything more than a source of obligatory dialogue.
The book seems to be going for the eerie «each man is every man» type of feeling that you got from Cormac McCarthy's «The Road,» in which none of the characters have names.
As the main character, Balram is neither endearing nor wholly odious; in fact none of the characters will hold the reader's interest for long.
But none of these characters stick around for long, as Hans keeps taking up the story in his plodding and uninflected voice, and even Chuck's story gets buried in the far less engaging story of Hans» reunion with Rachel.
None of the characters develop, there are no leads to the whereabouts of Yuna, and Rando seems content to just sit around and wait until she comes back.
You careen from head to head shamelessly and you tell us things none of the characters know.
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