Sentences with phrase «on emotional characters»

All the «Final Fantasy» games are different, but they're all centered on emotional characters and epic storylines.

Not exact matches

How can you draw on the emotional power of storytelling to bring customers close to the human character of your business?

Though it may sound bizarre, engaging with fictional characters on a deep emotional level can be a sort of thought experiment in empathy, where we briefly step outside of our self - constructed glass boxes and engage with people who are both vastly different and the same on an intimate level.

I want them to walk away knowing that they know a lot more about the story, that they've gone on an emotional journey with the characters, and at the end of it, they're still left wondering.

Three factors stand out as essential to Whitehead's account of emotional experience: (1) active response on the part of the subject, (2) the qualitative character of this response, and (3) the object as causally related to the subjective response.

One of the key characters in the book is disgraced «faith healer» Holy Wayne (played by British actor Paterson Joseph); a once - average man, bereaved on October 14th, who realises he can take other people's pain upon himself, like a kind of emotional sponge.

This is the opening of The Lunch Line Fight: Looking at Different Perspectives, by Tosca Killoran and Jeff Hoffart, part of a series of 10 paperback books with a focus on citizenship, mindfulness, empathy, character and social - emotional skills, presented in story book format.

More a beautiful character study than a plot - driven novel, Shine On is worth reading simply for hours spent with Colwin's exquisite descriptions of the physical and emotional world.

I'm usually pretty balanced with my views on Arsenal and oddly despite being the most emotional of characters, I don't generally rant like a belligerent child over all things related to the club -LSB-...]

Experienced teachers focus on intellectual and character growth, attending to the social, ethical, and emotional needs of sensitive and capable students.

Michigan: Custody is awarded based on the best interests of the child, based on the following factors: moral character and prudence of the parents; physical, emotional, mental, religious and social needs of the child; capability and desire of each parent to meet the child's emotional, educational, and other needs; preference of the child, if the child is of sufficient age and maturity; the love and affection and other emotional ties existing between the child and each parent; the length of time the child has lived in a stable, satisfactory environment and the desirability of maintaining continuity; the desire and ability of each parent to allow an open and loving frequent relationship between the child and other parent; the child's adjustment to his / her home, school, and community; the mental and physical health of all parties; permanence of the family unit of the proposed custodial home; any evidence of domestic violence; and other factors.

The conflict between Palestine and Israel has a profoundly emotional character on both sides.

However, a new study from the University of Chicago Booth School of Business titled «Less Evil Than You: Bounded Self - Righteousness in Character Inferences, Emotional Reactions, and Behavioral Extremes,» to be published in the forthcoming Personality and Social Psychology Bulletin, Nicholas Epley and Nadav Klein ask whether the extensive research on self - righteousness overlooks an important ambiguity: When people say they are more moral than others, do they mean they are more like a saint than others or lesslike a sinner?

And it's no indictment on character — far from some sort of personal failure, psychological and emotional problems stem from something greater than you, being either inherited genetically, or learned from parents or other environmental contexts.

He patented a method to match people called «29 dimensions of compatibility» which is based on four categories — character and constitution, personality, emotional make up and skills, and family and values.

That's exactly right but its important to point out that that's only one piece of the puzzle and we don't proclaim to be matching anybody on any kind of an emotional or like you said a character level.

From a study of 60 characters from literature, film and television, we scored characters on each of eHarmony's key personality dimensions needed for a successful relationship, including emotional temperament, social style and relationship skills.

Without divulging too many details, Carrey has a sudden, unexplained change of character at a crucial point in the story that undermines the rest of the picture and evaporates its emotional hold on the audience.

The less - than - engrossing atmosphere is compounded by a heavy emphasis on Alice's fashion - centric comings and goings, with Curval's odd refusal to provide down - to - earth elements consistently preventing the viewer from connecting to Girardot's character on an emotional level.

But as each and every player engages in debates - concerning, among other things, art, the artist's perspective, and male - female dynamics - Guerín focuses as much attention on the slippery boundary between documentary and fiction, in turn engaging with an evolving narrative, increasingly complex character dynamics, and an endlessly vivid emotional journey.

Among all the chess - piece players on the board, the star is the only one who really builds a solid emotional foundation for his character.

Characters overflow on the screen, crowding out emotional investment, and there is a severely misplaced emphasis on the power of special effects — many characters appear to be entirely digitized, and none has much screCharacters overflow on the screen, crowding out emotional investment, and there is a severely misplaced emphasis on the power of special effects — many characters appear to be entirely digitized, and none has much screcharacters appear to be entirely digitized, and none has much screen impact.

There is something of an emotional commitment brought to the storyline by the characters in this film, which really comes across well on screen.

The film really does take you on an emotional rollercoaster - its a journey of highs and lows, and you can really feel for everything, both good and bad, that the characters go through.

Horrible cliches, bad writing, emotional angles that are meant to be deep but come off pathetic... The South is a gold mine of odd balls and unique characters and unexpected situations, but this show falls flat on its face when trying to depict it.

At heart, it's a funny, raucous, bittersweet and vividly entertaining chronicle of the spontaneous emotional combustion that goes on in the lives of one soulful, eclectic assortment of firehouse characters.

Broken Age tries to end on a heartwarming final scene, but its an ending that it doesn't feel like the game earned, with Act 2's stagnant characters never maturing or developing in any way that would give the scene the emotional weight it seems to think it evokes.

That scene is so brazenly powerful that in retrospect it made me wish the main character had gone on a journey with more emotional gradations.

But without the (old) Disney genius for emotional structure and character design, the results are rather flat — the film concentrates on Disney horror and trauma without the relief of Disney charm.

Haynes, with a film light on dialogue and entirely too reliant on Carter Burwell's impressive, ever - expanding and changing but nonetheless incessant score, draws on the hollow sentimentality of his premise rather than the emotional specificity of his characters» engagement with the art and history that saves them.

Unusually for a drama about suffocating social and emotional repression, Disobedience lavishes attention on religious concerns; it paints Dovid as a largely sympathetic character, a man in a spiritual crisis.

The Way Way Back does generate a fair amount of laughs throughout the film, but misses on the emotional level because of the underplayed drama between mother and son — a shame because Collette's character had real potential to be more than just a naïve mother who is content with looking the other way for everything in life.

Rather than the gleeful gratuitousness that Tarantino employed in Django Unchained, there is reason to this assault on our senses, as McQueen's sequences present a subtle range of emotional responses to such cruelty and injustice, in both black and white characters.

If it were possible to overlook some of the annoyances of this character during the first two films, it isn't anymore: Grey is borderline abusive in the demands he makes on Ana, and it's frustrating to watch the film confuse playful sexual dominance with emotional domination, as Christian insists on knowing his wife's every move and overreacts to the slightest insinuation that she might have her own life.

They rely on Jennifer Lawrence to convey her character's emotional conflict while they explore this new, murky world of propaganda.

The allegorical stories that comprise the movie's fantasy world are also laid on a bit thick, and it doesn't do enough with its characters to maximize the emotional payoff.

«But when we're filling a director chair or chairs, we want people who are focused on the emotional journey, the humor, the surprising twists and turns of a singular character journey, which is what Captain Marvel is,» Feige added.

That said, when a number of major emotional moments in Infinity War are based entirely on character development established in previous movies, it sometimes comes off as cheap and unearned.

Despite the spectacular visual effects and enthralling music, «The Greatest Showman» feels rushed, failing to engage the viewer on an emotional level, creating characters without depth or personality.

Rating: 8/10 — featuring Pacino's most effective and rewarding screen performance for some time, Paterno rightly keeps its focus on its leading character while also exposing the hypocrisy and deception going on around him; an intelligent but modest drama that packs an emotional wallop when it needs to, it's also a movie that successfully avoids being exploitative or insensitive.

But that film had moments which were truly shocking and allowed the violence to have an emotional impact on the characters and audience.

Written and directed by Dee Rees from a labyrinthine novel by Hillary Jordan, it's the kind of movie they rarely make any more — heavy on plot and character development and more literary than cinematic — but so skillfully directed, photographed and acted that it sucks you into its powerful emotional storyline from the start and holds interest to the finish.

In a series that relies so heavily on the emotional turmoil of its characters, not being able to see that on the faces of its numerous denizens removes you from its narrative.

While the movie does all of its characters the favor of not condescending to them or their perspectives — a Bible Study group that might have been played for snickers is accorded, at the very least, a neutral view — its strategy of withholding both particular characters and information about their actions (the mine supervisor played by Josh Lucas doesn't show up until a half hour or so into the picture), while perhaps looking attractively, insinuatingly oblique on paper, has on the screen the general effect of blunting potential emotional impact.

Ragnarok still favors bathos over emotional culmination, jest over zest, toilet humor over deadpan humor, broad strokes over character - driven subplots, saucy rewrites over respectful updates on Norse mythos.

Even though Bigelow had to face some harsh criticism from women who saw Strange Days as an anti-women film because of the shocking violence on display, it could be argued Strange Days is a pure feminist picture, as Angela Bassett's Mace is a physically imposing, capable, intelligent yet distinctly feminine character who might be the supporting pillar of Ralph Fiennes» lost soul, but in some ways remains the emotional center of the whole film.

Mississippi Grind — In which fate is tempted, stories are shared, and secrets are unburdened by characters who wear their mental and emotional tells on their sleeve, daring us to call their bluffs.

Using the character's written confession (in a location far from his beloved farm) as a framing device robs the story of any real suspense and, worse, fails to enrich the events on screen with emotional or moral substance.

Although set in the 1970s, this dramatic thriller has a distinctly Western vibe to it, digging into the darker emotional corners of characters who are trying to make it through life on their own terms...

With co-screenwriter Christine Angot, she experiments with a rare female character on screen — a mature, divorced mother who is searching for true love, physical, emotional, and realizing she needs stability too.