Sentences with phrase «particularly good character»

It's still something, at least, and he's a particularly good character to get the spotlight for a while.

Not exact matches

«Panther» will end up over $ 600 million in foreign grosses and set precedent in destroying the truism that films starring mostly black characters do not perform well internationally, particularly in Asia.

Such recommendations must also include a statement from the recommending stockholder in support of the candidate, particularly within the context of the criteria for Board membership, including issues of character, integrity, judgment, diversity, age, independence, skills, education, expertise, business acumen, business experience, length of service, understanding of the Company's business, other commitments and the like, as well as any personal references and an indication of the candidate's willingness to serve.

My take was that his stories were good, but the dialogue between the characters, particularly between the opposite s.ex was horrid.

It is true, as Hall points out, that for Whitehead ordering principles are «immanent» within particular occasions (see UP 261 - 70), but in most cases those ordering principles also reflect the «mutual relations» of individuals, as well as the «community in character» pervading groups or societies of individuals (AI 142).13 This is particularly true of persons: the relations between occasions which constitute the human body and brain, and the «community of character» of the succession of personal experiences, give an essential element of unity to human experience.

The interactions and dynamics between the two (as well as between Weekes and other characters) made Weekes that much more endearing to me — his awkwardness in the relationship (particularly a few foot - in - mouth moments that showed him as the country boy he is), their effort to keep their relationship out of the spotlight... it was all very sweet.

Anything less than four will have a better than expected feel about it but I fear it will be worse, particularly with the lack of character and leadership on the field.

«Phil didn't do something to earthquake - proof the house that he promised he had, and spends most of the episode trying to cover up,» says Burrell, who loves the bumbling but well - intentioned character, which was written with him in mind — something he finds «not particularly flattering, but hilarious.

So he's stonewalling, which doesn't speak particularly well for his character.

This is fine in the first ten minutes or so where the characters are being introduced and the Squad is being assembled; there's a lot of welcome black humour, particularly from a well - cast Margot Robbie, which serves to separate her version of the character from that in Batman: The Animated Series.

Characters and their arcs are good, but it's the construction and execution of the jokes that are particularly noteworthy.

with the various elements that are part and parcel with comedies of this ilk, including wacky misunderstandings, quirky supporting characters, and histrionic third - act plot developments - with the latter handled particularly well by Jones (ie such interludes aren't nearly as painful and eye - roll - inducing as they could've been).

The character is not used well in the film, particularly towards the end, and I «m sure fans of Deadpool «s will be quite upset at the way he «s wasted.

Really, much more problematic is the characters, and that especially goes for Scott Speedman's Jay Wheeler character, because even though Evan Rachel Wood's Daisy Kensington is terribly obnoxious an unstable fish out of water, her ignorance is easier to forgive than Wheeler's being an out - and - out dirtbag, an initially good - for - nothing jerk who takes advantage of people, particularly those of great vulnerability, for his own gain, and who is somewhat redeemed by the end, but takes too long and forceful of a road to redemption for you to care.

In its final form, Nashville has some characters that remain underdeveloped or just don't work particularly well, such as Goldblum's Tricycle Man character.

Zellweger is a good comedienne, but her character isn't written to be particularly funny, and it's hard for her to find any room to roam when Carrey is stealing every bit of the focus.

If it has all been as well document as they say, how is it possible to confused one of the main kingdoms in Europe at the time (Kingdom of Navarra) for a non-existing kingdom (Kingdom of Catalonia), particularly when two of the main characters, King Philip and Queen Juana of France, were also King and Queen of Navarra.

The inclusion of several admittedly electrifying sequences - ie Gekko's infamous «greed is good» speech - generally compensates for the periodically overwhelming narrative, although Stone's reliance on a progressively conventional structure, particularly in terms of Bud's familiar rise - and - fall character arc, ensures that the movie peters out as it approaches its far - from - unexpected conclusion.

The Farrellys have never been particularly good at writing female characters.

I don't know whether it's the technology that's changed, or that the artists, most of whom worked on the first, have grown, but there is a striking new level of emotion in the characters themselves, particularly their eyes, that does much to, well, animate the film.

It is well - written and the characters, while not particularly likable, are certainly interesting.

What drags the game down is not only its lack of length but sub par voice acting particularly with the DLC's main protagonist, Batgirl voiced by Ashley Greene who had come to replace Kimberly Brooks from former games lacking the tone, wit and independence Brooks brought to the role changing the character, entirely lacking personality in a worn performance, the characters are now best to be left forgotten, not even Hamill could save this train wreck with the very few joker lines he had been presented with.

Which makes casting a television series particularly trying; with so many regular characters, creating a well - balanced cast that works well together can be a chore.

Both actors are well cast and Arestrup gives a particularly great performance but the script could have used more subtlety in shading this fraught bond between the principal characters.

Mark Steven Johnson's 2007 attempt to bring Ghost Rider to the big screen didn't turn out particularly well, and although many believed that would be the last we'd ever see of Marvel's B - list antihero, Sony decided to give the character another shot with this equally shoddy reboot by Mark Neveldine and Brian Taylor.

Most of these new V - Triggers are quite different than the originals, and may well change your approach to some characters, particularly if you're a high - level player.

Louise - Michel relies heavily on the performances of Moreau and Lanners, and Lanners is particularly good in the early sequences in which his character demonstrates his «credentials».

Sepideh is a well - meaning character but every decision she makes somehow seems to make things worse, and Farahani is particularly brilliant in the film's gripping climactic scenes, when the full moral weight of the drama is resting on her shoulders.

The director of the Captain Marvel movie has a big responsibility: they have to introduce a character who isn't particularly well known outside of comic book shops to a wide audience while also shouldering the burden of making the first solo female superhero movie set in the Marvel Cinematic Universe.

What I am particularly pleased about is that the cast is primarily made up of brilliantly good British character actors who are just right for interpreting and bringing to life my printed ones.

If, on the other hand, you enjoy a Tarantino - scripted conversation or two or five — particularly in a period piece where the characters can't make references to movies or TV shows — «The Hateful Eight» may well engage you as a darkly funny locked - door mystery that's in no hurry to show its hand.

Some recognizable Lord - Miller touches survive in the better bits of dialogue, particularly in the scenes with legacy characters (something the filmmakers, now credited as executive producers, tried out via The Lego Movie).

What was the process of developing the character of Maria, as well as the overall story, with him, particularly since he was a first - time filmmaker?

He convinces in the action set - pieces (particularly in an extended motorbike chase through Manilla), which are well - executed by second unit director Dan Bradley and Oscar ® - winning cinematographer Robert Elswit (There Will Be Blood), and generally delivers a nuanced portrayal of a complexed character.

It's an incredible thriller, a throwback to classic Hitchcock films (particularly Rear Window), and features one of the best characters ever in a Carpenter film: Lauren Hutton's amazing Leigh Michaels.

If you're a fan of 2009's Star Trek, you were likely charmed by director J.J. Abrams» ability to enthusiastically introduce us to a set of well - matched characters, commandeer thrilling action pieces and confidently usher his audience through a reasonable (albeit not particularly sophisticated) plot.

Neighbors is light on character development, ridden with logic issues and doesn't flow particularly well, but director Nicholas Stoller never loses sight of that chief appeal, resulting in a feature that may not be particularly memorable, but is still a fun watch.

It's not a particularly good movie, but it has far more character than this CGI - dominated remake, a bland and flavorless spectacle centered on muscle - bound Perseus (Sam Worthington), a stiffly stalwart demigod who takes on an odyssey to defy the gods with no more personality than the slick but CGI creatures he battles along the way.

The problem is that these moments are rather few in what might have worked better as a character study, as the story at its core is not particularly new or interesting, and plods along to a predictable beat to its ultimate conclusion that feels too long in coming.

Chaplin is brilliant as always in the role of his famous Tramp character, and Coogan impresses as his young partner - in - crime, but while there's a lot to love about «The Kid» (particularly the duo's fantastic chemistry), it falls well short of its reputation as a cinematic masterpiece.

Significantly, Gone Baby Gone is not interested in the best interests of Amanda, though most of its characters are, particularly Angie, Remy, and Doyle.

The single player mode has three playable characters — a street racer, an off - road racer, and a bruiser type good at smashing other cars, and none of them feel particularly good.

Each time Gustave undercuts his upscale flowery language and penchant to quote romantic poetry with a vulgar epithet is good for a chuckle at worst, and the design of some of the more farcical sequences (one particularly involving a trek through a mountain monastery with Dafoe's character in hot pursuit) are a delight.

When: August 8th Why: It's been nearly 20 years since «Twister» was released in theaters and it still looks better than this CG - fueled disaster flick, which doesn't appear to be particularly interested in its human characters at all.

Hong Chau seemed like a breakout lock after Downsizing premiered in Venice, but subsequent screenings in Telluride and Toronto have badly dented that film, particularly criticisms that Chau's character is racially problematic — whether not she gives a good performance.

There's little avoiding how these character dynamics fit into Allen's well - publicized personal life, and it's extremely discomforting at times — particularly in how Ginny is reduced to a green - eyed monster of pettiness and anger.

Given that, these combos don't feel the same for each character and they really reflect their Star Wars characters well, particularly using your lightsabre or using one of your Jedi abilities.

Scene after scene demonstrating how awful he is (how about that post-coital bedroom scene, acted so well by McDonald) play out with little to no relevance to the ongoing narrative and aren't done in any particularly nuanced way as to help form more than a one dimensional perception of this character.

It's only the tip of the iceberg for the amazing movie, particularly Brie Larson's character as well as her performance on the whole, but it's an ideal beginning to a movie that you never actually want to end.

Nor for anything particularly interesting in Chaney's character: it remains largely unexplored, though there should be dimensions there; Cagney and director Joseph Pevney (director of some of the best Star Trek episodes) hint at it at times particularly his unreasonability and a bit of a cruel streak).