Sentences with phrase «particularly out of character»

Not exact matches

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.

I am not normally given to mad rushes of conjecture, that is not in my character or training, but the juxtaposition of a last day agreement to loan AA out, as you say, weeks after the alleged first approach by Zenit, and a visit to London by Hissing Sid — sorry, Stan, makes me think that this was not particularly planned and was rushed.

You may see a sudden change in their behaviour, particularly if it is out of character.

Maybe I was right not to take out the yearly licence to practice as a private legal practitioner since 2006, particularly because of charlatans of the nature of Okudzeto Ablakwa and his likes now admitted to practice in the legal profession for lack of prior challenge to character.

I have to admit knowing that things had no possibility of working out, yet because of the interesting nature of the characters, particularly the young woman (who is beautiful, even by modern standards).

Most of the major characters in the film are either comatose or nearly so, particularly Kate Winslet and her son Henry who can barely squeeze out a word.

Iron From Ice is a strong start to the series, with some promising narrative setups, a believable atmosphere, and one particularly shocking moment that made my jaw drop... I do hope we see the playable characters get a bit of a personality injection, but I think we've got a favorable introduction that lays out its pieces in such a way that Episode Two is only going to be fascinating.

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.

The Maltese Falcon is really a triumph of casting and wonderfully suggestive character detail; the visual style, with its exaggerated vertical compositions, is striking but not particularly expressive, and its thematics are limited to intimations of absurdism (which, when they exploded in Beat the Devil, turned out to be fairly punk).

Now it seems she's out to prove she's more than a cute - faced belle by portraying the particularly nasty title character of director Miller's final film, completed before his death last year.

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 movie is neither funny nor particularly scary for a supposed horror - comedy, and the characters are so awful right out of the gate that you don't care whether they survive or not.

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.

One particularly nice touch involves a character who shows others that these people Thor mentions and associates with were something out of a children's book.

The Hunger Games drags at times, is not particularly imaginative as much as it's campy, the romance part seems more perfunctory as touchy - feely love than steamy and any complexities in characters or angry revolutionary messages can't be drawn out on film like they were supposedly in the book (I'm not one of its 26 million readers, but I'll take the word of those who stated that was so in the book).

There's a particularly heartfelt and comedic scene in American Ultra, in which Jesse Eisenberg's character, Mike Howell, stoned out of his goddamn mind, looks at a car that's crashed into a tree, and with a single tear streaming down his face — something of an Eisenberg specialty — apologizes to his girlfriend Phoebe Larson (Kristen Stewart) for being the tree that's stopping her, the fast - moving car in this metaphor.

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).

You notice it less in motion, but I kept getting yanked out of it here and there, particularly with win animations and the like where you tend to get close - ups of weird - looking character faces.

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.

Severus Snape, one of the most intriguing characters of the series (with one of the most beautifully played out stories) has made an Unbreakable Vow with Draco's mother in a particularly ominous scene; if Draco can not carry out the Dark Lord's request, Severus will do it himself.

In fact, all four of the new character's offensive strengths are balanced out by relatively less staying power, particularly Evil Ryu and Oni.

Text is swapped for subtext in The King; characters with implicit motives take implicit courses of action; and the whole thing washes out as a particularly leaden existentialist joke.

Certainly there are things to love; Bilbo's character progression and his untimely addiction to one precious ring is welcome (although not nearly as prominent as it ought to be), the set design and telescopic vistas are almost as epic as ever, seeing the majesty of gold - diggin» dragon Smaug realized in impressive CG tantalizes the little boy in me (the one who listened to The Hobbit audiobook until it wore out), and one particularly fun scene involving dwarves in a barrel is a blatant film highlight; but other elements that ought to stand out fall flat on their face and never recover.

Having said that, it's just as clear that the movie starts to seriously fizzle out as it passes the one - hour mark - particularly as Bernal's emphasis on the drug - fueled escapes of the characters becomes increasingly tiresome.

But she's not just comic relief, as her character points out toward the end of the film — in many interviews, particularly a 2015 episode of the now - ended podcast The Champs, she's revealed that she had an incredibly difficult past life, and she possesses a compelling vulnerability that we can glimpse here.

With a few good gags and more appealing characters, there could have been some worthwhile viewing here, but this script seems like pages ripped out of many other screenplays, and not particularly good ones at that.

His energy, particularly in scenes where he does some fast talking in the courtroom, sells the rather larger - than - life character, and the internal struggles he possesses about what he is doing makes him sympathetic enough to know he isn't just a smart - ass out to make a mockery of the legal system for self - aggrandizement.

And yet it stands out as one of the best films of the genre, on the strength of the storytelling and wonderful performances, particularly Michael Sheen as Clough and character actor Timothy Spall as a sensitive, brainy assistant coach.

The movie also feels edited for TV, particularly in the out - of - place and out - of - character lines of dialogue seem inserted into the script simply to create trailer moments.

Despite far too many helicopter shots of Manhattan (seemingly left over from the end credits), Stahelski and Leitch direct the hell out of what little story there is — particularly the extraordinary car sequences — but this is one film that could actually use a sequel / sidequel for Kolstad's characters to really let rip.

Things don't really start to get funny until Macelli's transformation, but once that happens, Loggia makes the most out of his character; Don Rickles also gets a few fun moments as Macelli's attorney, Manny Bergman, particularly after Macelli turns him and he decides to open up the curtains and let the sun shine in.

Their romance is disrupted by unnecessary subplots of supporting characters, particularly Strickland's home life with his son, daughter and wife cut out of a Coca - Cola advertisement from 1961.

Robinson, Grant, McGann and other principals recount insightful and amusing anecdotes about the making of the film (most interesting of all: Grant had never gotten drunk before playing his hard drinking character), and diehard Withnail fans weigh in with their favorite characters, moments, and lines; not being a fan of the film, it was particularly interesting to find out what scenes and pieces of dialogue are especially notable for fans.

As Charles Glenn points out, «The Dutch example is particularly telling since there is a constitutional guarantee of freedom of the religious or philosophical character of schools... and two - thirds of pupils in the country attend nonpublic schools.

The horrors of the Civil War are also made immediately felt through the characters» lives in quiet but such graphic prose that it made me feel I was understanding it for the first time as a fellow human being rather than a student of history... One beautiful passage at the end of the book stays with me and seems particularly relevant, perhaps, to our current political moment: «So much blood has been spilled that redemption may be out of reach in the end.

I laughed out loud particularly at the use of «L'éléphant» whenever Lander was on - screen, since it has a similar effect to flatulent tuba noises following a haughty, rotund character.

I feel I should point out that if you're looking for a particularly progressive view of women, this isn't the game for you, as almost all of the characters show incredible amounts of T and A.

While at first some of the character models — particularly the giant Varl ones — look confusingly similar, they do become individualized as the characters become more fleshed out.

Though not all of the pop culture references are particularly clever (there's a character literally called «Snake» who looks like Solid Snake, which, um, I don't think you're allowed to do, Apogee), I have to admit I laughed out loud when I found I could add the «Pre-teen GMO Karate Frogs» to my party.

Even the odd side story or character that comes out of nowhere doesn't feel particularly out of place.

There's nothing in this game that particularly stands out as visually impressive and our only example of any real animation is within the battles and even then, we're getting stiff character motion and low quality effects.

What's different, and particularly valuable, about Greenaway's analysis is his focus on the feelings Trump triggers in supporters (as with a character in a novel) more than trying to figure out the mix of calculation, advice and reflex that is shaping the candidate himself.