Sentences with phrase «real characters here»

Of course, the cars are the real characters here, and there are plenty of badass, fully - armored vehicles to drive.

There are real characters here, and the laughs come from the absurd over-commitment to them, as well as some solid joke writing.

But despite a solid Timothy Olyphant and the likeable Callan McAuliffe, there are no real characters here.

More than he's been allowed to do in either Collet - Serra vehicle before this one, Neeson gets to portray a real character here, a man who may have once had a particular set of skills but has seen then dulled by age, regret and whiskey.

Not exact matches

Here is a real character that we're creating and it has to be as human as the characters around them.

If you're looking for more reading material about the Trump White House and its rotating cast of characters, here's a quick guide to some books already published and yet to come in 2018 — some of which might seem like beach or airport reads until you remember the reports are rooted in real life.

The drama here plays out like a great stage play, where the internal conflict and tension between the characters is the real driving force.

There are still real estate bargains to be had here — and the relaxed lifestyle is unsurpassed, although my advice would be to get there soon, the beauty and character of this seaside town won't stay untouched for long.

Rather, the new NIV here makes it possible for English readers to discover a more Catholic or Orthodox or truly Lutheran Paul, one who teaches that the problem with the Jewish law is its ethnic and temporary character and that human salvation concerns our real sacramental participation in divine life, real transformation, and ultimate resurrection.

I have no doubts that Christians love this character God, but the question here is whether it can be proved that this character is actually real.

Thus, while strictly speaking, the conjunction of a contingent statement — that oppression is real — with a metaphysically necessary statement — that God is G - of - A — yields what is technically another contingent statement — that God is G - of - O; there is a certain undeniable ineluctability about the truth that if oppression is real, then God can not fail to be G - of - O, which compels me to indicate its ineluctable character by saying that it is «restrictive yet necessary» (and here necessary does not mean metaphysical necessity).

Gods came to set the captive free.God is always in control he calls the shots not Satan he is in control his motives and purposes we can not understand but we do know his character is always for good and he always has a plan.It is spiritual lesson from a real life situation.I am jumping way ahead here but at the time the people sent Jesus away the demoniac man was sent back to his family when you read later because of his testimony the next time they visit years later to those towns many people are saved because of him so again yes some pigs died one man was set free but that man went and told his story and many were saved and added to the kingdom so to God be the glory.brentnz

Here what constitutes an emergent value is «a real fusion of the characters of eternal objects.»

Here are some real life football characters that would scrub up quite well in the panto season, starting with Jurgen Klopp as FATHER CHRISTMAS: He's got the beard.

Here are 10 ways that parents can begin by helping boys develop their character for the real world and experience as much success along the way as they can:

And when the book came out in Catalan, researchers here in Barcelona played at identifying who could be the characters in real life.

Not only that, but the real life characters who lived here at Continue reading...

Throw in Neil Patrick Harris — once again playing the Bizarro World version of himself — shattered and reinforced redneck stereotypes and a delightful take on Dubya [here, he may not speak real good English, but he's slyer, smarter and mellower than we are expecting] and the result is a solidly funny movie that Says Something more by highlighting the characters of Harold and Kumar than by the political jokes.

While the previous films in the series have been just that — parts of a sequence designed to get us here, each with their own beginning and end — the first and second parts of Deathly Hallows are two halves of the same film, and to approach them as separate entities means missing just what director David Yates, writer Steve Kloves, and a host of storytellers and performers have done: They've made a five - hour fantasy epic that balances effects - driven battles with some very real character moments, and one that isn't afraid to have its heroes pay a high price for their convictions.

The story of an outsider who has pinned her hopes on meeting her real mother, and how this mysterious woman (Roxy) has shaped the lives of many of the characters here.

What's best about her work here is that a character that might seem at first like the complete opposite of Alice turns out to have much the same fire as Micky's mom which, creepy as it might sound, makes her romantic relationship with Micky more real.

The trade - off here, as mentioned, is no real story or character development beyond the basics to motivate you to save the day and the repetitive nature associated with permadeath.

If German expressionism is your thing — and the sensation of emotional battering feels real here for the characters and viewers alike — the eight - episode series will be searingly satisfying.

Despite some very fine performances, the characters aren't supposed to be particularly deep, serving their function without a sense of real history or future, existing for the here and now as the story necessitates.

Sigourney Weaver's performance however, is the real stand out here, and James Cameron creates a great story arc for Ripley's character as she faces her demons, and then starts fighting back.

And as the Mary Sue explains here, it does a fantastic job of making Cinderella into a character with real agency, while showing how Prince Charming has to grow up in order to deserve her (with the help of Leonardo Da Vinci!)

Except for a few teases here and there that revealed more characters, we've had no real news regarding Mario Tennis Aces, since it was shown off in the Nintendo Direct that aired on May 8, 2018.

But the real winner here is Spall, the ever great character actor, (best known for Mr. Turner and Secrets and Lies), as the romantic lead.

First are the characters who appear because they were in the first two movies even though they serve no real purpose here.

The college - lampoon mood is set early, with a title sequence promising, among other characters, «a British villain» and «a sexy chick,» and explaining that the film is produced by «some asshole» and written by «the real heroes here.»

Here she goes a long way toward making the cardboard character real and her transformation appealingly acted.

Naomi Watts — so wonderful in better horror fare like The Ring or thrillers like Mulholland Drive and Funny Games — does the best she can here with a comparatively inferior character, but Charlie Heaton, who broke out as the protective and lovelorn older brother in last summer's Stranger Things, and Jacob Tremblay, Oscar - nominated for his role in 2015's Room, are stymied in roles that require too little in the way of nuance or are lacking in enough screen time to show real depth.

There's so much happening in a vacuum here with deaths all over the place and a wealth of exposition shoved at the moviegoer — brush up on your Horcrux knowledge and character lists, people, else you'll be lost — the film doesn't sustain the real feeling it engenders brilliantly in the opening scenes.

His role here alternates between bland and strange, and we never really see him as a real character — he's always Robin Williams in a preacher's collar, except not that funny.

Here, the grittiness is nonstop, showing the characters only as dark and mean - spirited and not revealing them as real or authentic.

There isn't a real story here at all; just a series of events that leave you to try to guess which character is the killer.

Whilst all the characters had depth, there were no real emotional peaks and valleys to enjoy here, just an impressed bemusement at the thespian antics on display.

Even the cruelest character introduced here — Desmond's vengeful father Tom (Hugo Weaving)-- is given the screen time that allows him to come across as a real but horrifically flawed man.

If there's a real structural flaw here, though, it's one that is perhaps endemic to all comic books and their ceaseless interplay of daddy issues: because comics never move forward in time (and presumably, neither will the MCU), we always see these characters dealing with the mistakes of the past, and never repealing those mistakes for the future.

Just as in Blair Witch, the characters here use their real names in order to blur the line between fact and fiction, and thereby suggest that what you're watching is a documentary.

These characters are all based on their real - life counterparts but the one aspect that is slightly annoying to me here is how the characters are now tied to card packs.

You get the impression that Katz either loves or admires his characters here, and even he seems reluctant to cause any of them any real harm.

Many characters break the fourth wall (although it works better here than it did recently in «The Walk») and in three key scenarios refer to real celebrities — playing themselves — to explain key banking and investment terminology.

Despite having no real human - like qualities (one bizarre song - and - dance scene notwithstanding), all the characters interact with Minkey as if he actually is an anthropomorphic spy, a set - up that lends itself to corny scripts and poor acting, both of which are problematic here.

I would like to say here that I believe redemption is something earned — in real life, yes, but I'd also like to see that played out in the characters I'm expected to find a connection with.

One of the best lines in the film goes to Lorenzo when he tells Julieta that he may be «turning into one of Patricia Highsmith's obsessive characters» only the real mystery here is why Almodóvar's latest lacks the timbre and matronly mettle it promises.

Your character's progression and items all carry over into multiplayer, and the only real issue here is the way loot is handled in couch co-op.

At no point do the filmmakers seem to evince any real interest in the emotional misery they inflict on their characters; trauma here is just the quickest means to an uplifting end, or in this case, a montage's worth of wretched epiphanies.

Some movies are out there for deeper analysis but the best «real» character storylines, like here in Man Up, are the ones when you want to be those people for a moment.

This is an energetic film in its Scorsese - inspired stylistic flourishes — disorienting jump cuts, nearly nonstop contemporary music cues, free - flowing camerawork, etc. — and winding plot of corruption, but the real momentum here is in the fact that we have no idea how these damaged, desperate characters will react at any given moment.