Sentences with phrase «rather lack of character»

But in my long life experience, I firmly believe character - or rather LACK of character — is imbued in the individual.

Not exact matches

Beyond her age, she also lacks the spark of Superman's girlfriend, intent on blending in with the rest of the cast as a side character rather than taking any initiative.

The Church for him is something like the uniformed units in God's array, the point at which the inner character of man's divinized life is manifested in tangible historical and sociological form or, rather, in which it is most clearly manifested because, to the enlightened gaze of faith, grace does not entirely lack visible embodiment even outside the Church.

It is a pity that the psychological complexity of the previous film gives place to a bloated and not so engaging cat - and - mouse game that lacks the chemistry between the two characters and has a rather frustrating ending, being only worth it because of Lecter.

This average biopic has the perfect material to be made into a quintessential modern classic, but it sadly lacks soul and intensity, resulting in a rather dull experience that doesn't quite live up to the importance of its real - life character.

If irresponsibility and a lack of trust or deep caring between anyone is the grounds for good humor, then Bojack Horseman does it infinitely better (The difference is that in a cartoon show about vacuous Hollywood types there are characters who feel like subjects who can care rather than just targets for cynical jokes).

I realise that at this stage of the book, Bilbo is a narrative device rather than an active character, but there is still a lack of that ordinary Hobbitness that made the previous two films so heart - warming.

That Jackie feels deeply personal and lacks that perfunctory sheen of «historical importance» — that it is a character study rather than a history lesson — speaks to Larraín's humanist approach to the material.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

These recreations are less dramatic aids to paper over a lack of documentary footage than a movie of their own, with a screenplay that goes well beyond established facts and a full cast (including Molly Parker of Deadwood and Peter Sarsgaard of The Killing) that interprets characters rather than representing them.

Momoa clearly relishes the part, but his character lacks direction or focus, content with being an earthy rogue rather than the force of nature that Schwarzenegger embodied.

Welcome to the Punch sets itself up as a rather conventional genre film, but where the writing may lack a depth of character or thematic weight it's more than made up for in terms of sensory - appealing thrills and a hyped up rhythm that keeps things moving along at an appropriately rapid pace.

What's more, it tries to rebrand that lack of follow - through as a willingness to live in gray areas rather than condemn any one character as irredeemable (see: the entirety of Rockwell's character).

As is Rinko Kikuchi, who does so much without saying much (lack of dialogue for a character in a con man flick is rather rare.)

This not only made the character's speech come across as rather halting but the lack of natural flow in their speech made many serious scenes come off as rather comical and spoiled the creepy atmosphere built up by the visuals and ambient music.

But there are also some important differences: Biff Grimes (Cagney) lacks Jim Corbett's gift for dominating the events of his own life; women have far greater importance here, with the title character (Rita Hayworth) and Amy (Olivia DeHavilland) being the central forces of the film; male friendship is complicated by betrayals and delusions (here the Jack Carson character is the traitor, while the unfortunate Grimes is rather like the Carson character in Gentleman Jim).

Rather than merely blaming the bully, other factors must be looked into - such as a lack of character building education.

Rather than the children lacking will or being of unsound moral character, however, it is the schools that often lack the will and the resources to teach these children.

The Veloster Turbo is a modern car but some of its most interesting characteristics come from old school charm — a mechanical handbrake, no stop / start and an ESP system deactivated with one press rather than a hold - down - for - what - feels - like - eternity process all help endow it with a sheen of character more polished (and technically more capable) rivals can lack.

Character animations are also stiff, giving attacks a rather stick - man like feeling, or conversations a complete lack of believability.

Sadly this lack of any intelligence shows up in the boss battles too; epic fights against Wolverine or Gambit should be a deadly dance of death, but in reality both characters have just a few simple moves at their disposal and have a rather peculiar tendency to attack absolutely nothing, leaving the locked in an attack animation where you can happily batter them black and blue.

Shadow Zero is a character that makes a reappearance from Final Fantasy Adventure... or rather a distinct lack of appearance, because he is next to impossible to come across in the game.

I don't think it was lack of imagination that got those two their names, as I find their names rather telling of the kind of character they are.

Overall the story is quite compelling and as the mobile game progresses you learn a lot more about the characters and the world, however, there is rather a lack of information on the antagonist as not even his order of the sworn six of Pardia is mentioned in the game.

But Survive goes too far towards realism, capitalizing on the weakness of your character rather than their lack of superpowers.

With essential characters in key situations spewing out rather droll and awkward dialogue paired with surprising lack of emotion in some characters — without spoiling anything — it really takes away from the experience.

Lido writes «The fact that Dead Rising: Watchtower works at all owes more to the natural potential of the material rather how it executes... The schizophrenic tone, the lack of developed character, the overburdened narrative, and the sluggish pacing make Dead Rising: Watchtower a very tough sit.»

On the VA front, it's worth noting that the cast for the characters outside of the ones at the panel includes such illustrious names as Mark Hamill, who has recently drawn more attention through his lack of dialogue rather than through excellent delivery.

It's a compelling template that has inspired multiple rivals and, while the Mario edition boasts familiar characters and locations, it lacks the variety and depth of Puzzle & Dragons Z. However, Z in turn gameplay does become bogged down in a rather tedious story in places but when the game gets going, it's an addictive experience.

But there are just so many of them that it smacks of a lack of imagination rather than trying to do something that fits the characters.

The audiences in Hong Kong will be familiar, for example, not as much with the marginalization of Laimonas Šiaučiuvėnas in Restricted Sensation (2012) for his sexuality, but rather with the institutionalized language of an oppressive and conformist bureaucracy, and with a lack of humane relationships, either in the character's work place or in the interrogation room.

In character with the student protests» lack of visible individual leadership, there has been an awareness that the spotlight needs to stay on the work, rather than personalities.