Sentences with phrase «rarely much character»

and there's rarely much character development or plot twisting.

Not exact matches

That's arguably much more powerful, yet it's so rarely seen in the diverse characters that appear in our drama and comedy shows.

How terribly sad... we have fallen so far that we find ourselves in the ridiculous position of propping up the oft - injured and rarely inspirational Jack Wiltshire... what's next, extending Walcott, Welbeck and Ramsey... can't you see that these players have nothing to do with winning and all to do with providing recognizable names to the plastic fans who frequent our overgrown library of a stadium... it's high time we rid this club of one of the worlds most incompetent and unsuccessful owners (look it up) and our fragile and spineless manager (much like our club) who can't bring in the best talent because he knows he can't live up to expectations that come with players of that ilk... think about it, he couldn't even handle Sanchez, who was largely a periphery character in Barcelona

Despite a strong sense of its characters, however, Kelly rarely generates much melodramatic or amusing momentum.

Rarely does so much talking say so little: Even after 30 - plus minutes of shocking pronouncements and sweeping exposition, no explanation has been offered for why we should care about any of these characters or anything that happens to them.

Never in a million years would I have guessed that the same filmmaker might turn around and make something like Tangerine, his punk - as - fuck portrait of a much seedier L.A.. It's not just a total creative 180, but kind of the opposite of a sell - out move: Trading a formulaic story for an unpredictable one and a slick Indiewood aesthetic for a gorgeous, radical lo - fi approach, Baker trains his iPhone camera on the kind of characters — black and transgender prostitutes, immigrant cabbies — that the movies rarely acknowledge, let alone put into starring roles.

I want to like that guy so much, but he rarely amuses me and I always just see him as Justin Long playing a character.

That famous movement's auteurs disdained Freudian psychology (at least at first) and rarely embedded their protagonists in familial contexts; think of Godard, whose characters spring to life in an existential present, with no hint of having had parents, much less grandparents.

Much of our understanding of the character, so much an enigma to other character that they rarely speak of him, comes from his portraMuch of our understanding of the character, so much an enigma to other character that they rarely speak of him, comes from his portramuch an enigma to other character that they rarely speak of him, comes from his portrayal.

When I think of words to describe beloved children's heroes, the phrase «cold - hearted sadist» rarely springs to mind, but I couldn't help but feel that way about the title character in this movie of «Peter Rabbit,» based on the much beloved children's books by Beatrix Potter.

Rarely has a screen character said so much in saying so little, and Del Toro threatens to overshadow the rest of the cast every time he's on screen.

The opening moments of Tangerine present an audience with the sort of characters rarely glimpsed in American feature films — and even more rarely as protagonists — but it also lucidly conveys crucial information about its subjects» lives and lifestyles without much exposition.

Unfortunately for us, studios rarely see anything besides dollar signs, so until they realize that they can't try to set up an entire universe in one movie which took Marvel a decade to accomplish, they will continue to fall short on some great stories and characters that are so much more deserving than what we have gotten, and Marvel will continue to add great content to an already impressively established world.

Much filmed previously (by Polanski, Kurosawa and Welles, among many others), Shakespeare's infamously bloody Scottish Play has rarely been allowed to elicit the sympathy for its central characters as Justin Kurzel achieves here.

So while it is rooted in its place and time, Marieme's story also takes on a wider resonance, as we watch her not so much come of age as deconstruct and reconstruct herself, several times over — even though her circumstances trap her, she acts with the kind of agency we rarely see female characters display, let alone black female characters, let alone black female teenagers.

By now, we've spent so much time with characters people like and are familiar with but rarely explore more about them or venture away to get to know new ones.

Cuesta keeps his film lively in the first hour with montages of real life footage and news coverage, reminding his audience that this story was very much a big deal, even if it's one which is perhaps today rarely spoken about (ask «Joe Public» who Oliver North is and I'd imagine the answers back up my statement) and in another highly complementary comparison I was often thinking about how Oliver Stone would have handled a film on the subject and character.

Nowadays, you very rarely see hotels built with so much love and character.

Nilin, then, is very much a defensive character, rarely given the opportunity to go on the attack, with the only exception coming in the form of S - Pressens, special moves with cooldowns that can quickly change the tide of battle.

If I'm looking for complaints, I supposed I'd mention the slightly surplus - to - requirements nature of certain characters — the Saboteur's traps rarely had much impact, and not once did either of us make use of the Truant Officer.

Rarely has a character felt so much like a collaboration between player and developer, with Shepard coming across as a character with weight and presence in the universe as a hero, as a Spectre, and as a beacon of hope, while still leaving key decisions like origin, morality and romance and opinions to be driven by player choice.

Characters rarely speak in Dragon Quest because, as Rogers also noted, there isn't much to say.

Because characters rarely speak and gameplay is rarely interrupted, Dragon Quarter is of a much more intense pace than someone sitting down to play a JRPG is likely expecting.

Sadly, aside from a sharp online Wii experience, Conduit 2 rarely impresses, relying too much on generic drudgery and sad attempts to capture the magic of more popular titles; worse yet, the storyline and characters seem aimless and forgettable.

Rarely are we given so much choice on how a story plays out with such an interesting set of characters, who if we weren't careful could die permanently and possibly change the journey and outcome of this dark crime story.

This is a stark contrast to many other fighting games where mastering a single character rarely has much carry - over to another one.

Button bloat refers to the habit of certain MMOs — especially older and more traditional titles like World of Warcraft, Rift, and Star Wars: The Old Republic — to cover the action bars of every class and every character with dozens of different abilities, many of them niche utility skills that are rarely used, as opposed to the much smaller sets of abilities seen in games like Elder Scrolls Online, Neverwinter, or The Secret World.