Sentences with phrase «same kind of character»

Several sections are frankly dull, while others depend on an attempt to allow Stark the same kind of character depth and developmental arc that lucky characters in the better comic - book adaptations have enjoyed.

We all know that many vegans like to find all the fat people who eat meat and make fun of them, but I've heard our own paleo people commit the same kind of character assassinations on their own allies.

We've been taught it is an evidence of our Christian faith to boycott businesses who profit from artistic contributions of these same kinds of characters.

I've realised readers buy books that look the same because essentially they want to read the same book with some differences... same kind of characters, same kind of heroine, same kind of conflict... but with a different location and a different problem to overcome.

Not exact matches

(n. 29) «Therefore, the priest's life ought to radiate this spousal character which demands that he be a witness to Christ's spousal love, and thus be capable of loving people with a heart which is new, generous and pure, with genuine self - detachment, with full, constant and faithful dedication and at the same time with a kind of «divine jealousy» (cf. 2 Cor 11:2)-- and even with a kind of maternal tenderness, capable of bearing the «pangs of birth» until «Christ be formed» in thefaithful (cf. Gal 4:19).

Either way, his character just oozes the same kind of fallacies that we humans do, perhaps the exact same ones the authors of his holy book personally held.

Now incorporate the eastern philosophies (A huge portion of what Jesus allegedly said came from the Buddha, Confucious and a few others) into this Jesus character... then tie the story back in to the original god (but also ver2.0 of god, same god, but a kinder, gentler vengeful god)-RRB- and voila... the «new» testament.

Hereâ $ ™ s some of the things that grabbed me: important theological / spiritual themes are developed through the story such as good and evil, leadership, courage, love, forgiveness, and unity; good character development; convincing geographical descriptions; it does feel like the same kind of worlds Tolkien, Charles Williams and C. S. Lewis wrote about.

Both questions lead in the same direction, toward the possibility of a provisional and qualified answer: if the character of happening only once is held to belong to the truth and measure of all things in their very reality, then there is indeed an essence which more than any other satisfies this truth - criterion, and this is the pure essence of time: time taken in itself, or pure movement — movement irrespective of any possible differentiation into the different kinds of movement.

Then again, as this is the same God who supposedly created people knowing they would sin, and then condemned billions to hell because of his own mistake, that does kind of seem in character.

Stated generally, is it necessary that the constituents be «parts,» i.e., of the same kind, having the same character or property, as that of the composite?

The fact is that the same epic quality, the same kind of license, and indeed the same essential poetic character permeate the prose - but the form remains prose.

Baby Be Kind by Jane Cowen - Fletcher shows typical examples of toddlers displaying kindness, featuring the same adorable boy and girl characters on each spread.

Psychologists who have studied attachment have found that when human kids have that same kind of licking and grooming - style bonding with their parents, especially in the first year of life, it gives them all sorts of psychological strength, confidence [and] character that, when they reach school age and even into adulthood, will make a huge difference in how well they do.»

But the novelty of this has certainly worn off a bit and in the interests of both retaining fan favorites and introducing new personalities, this third film feels a little crammed with characters all vying for the same kind of calculated jokes.

The 7 + characters are interesting to play as though the function the same, but are so disturbing, it's kind of fun.

I'd recommend the next in line, which is kind of a TOT.2 in a way (same characters / general idea), Animal Parade, because this one kind of turned me off to the series for awhile.

The character has no franchise potential, as the film opens with an epilogue - as - prologue about Poe's death, but maybe Cusack and his director, V for Vendetta's James McTeigue, were still hoping for that same kind of pithy, indelible hero.

Are you walking into the same kind of costumed glut that threatened to turn the most recent Avengers film into Infinite War on Character Development?

Some of them have accents, one of them is a woman, one of them likes to smoke pot, but really they're all slight variations on the same excitable, profane, and shallow archetype, the kind of character that gets their own poster in marketing with a nickname like «The Kid» or something cool - sounding like that, but it's all posturing.

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 do kind of want her to be at the same rank as Rhodey, just for the sake of character relationships.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

It's a shame that his first solo film falls victim to the same kind of slipshod storytelling, overloaded with characters and setpieces at the price of screen time for its lead.

Just sticking to relatively recent television (as opposed to something like the movie version of From Hell), The Alienist arrives after The Knick and Boardwalk Empire featured a New York only slightly further in the future, Peaky Blinders and Penny Dreadful have done the same across the pond (the latter featuring an alienist character of its own), and Netflix's Mindhunter tackled the»70s codification of the kinds of criminal profiling that Kreizler fumbles about with here.

These one - on - ones all follow the same pattern: Garlin arrives at a character's house or workplace, stands around awkwardly while they do weekday improv workshop material, and then learns some kind of secret about the character; more often than not, the secret involves a controlling woman.

How many actors would have appreciated this kind of exposure and could have developed a new character serving the same purpose as Ian here?

Facing the same dilemmas as the man who plays him, Jandreau's character Brady Blackburn contemplates what kind of person he can be now that his body will no longer bear the wear and tear of pursuing his dreams.

All the Moral Tales have essentially the same plot, but differ in the kinds of characters they present the dilemma of fidelity to.

At the same time, Howard the Duck rolls into the same town where the alien is hiding and some kind of The Fly hi - jinks ensues because the two Marvel characters become one terrifying creature that has the murderous tendencies of the Merc with a Mouth, and the cynical intelligence of Howard the Duck.

Although Baumbach and Gerwig didn't intentionally set out to turn «Mistress America» into some kind of companion piece to «Frances Ha,» they did want to tell a story with the same sort of framework, at least when it comes to its central characters.

Sandler endows the character with the same kind of self - loathing that burbles under all of his best performances, from Noah Baumbach to Billy Madison.

It's quite smart, really; each character feels the same, so there is some kind of consistency to the game, but the special ability allows the game to feel somewhat fresh over the course of the 12 or so hours that it will take to complete.

Though the late - 19th century setting of Jules Verne's Around the World in 80 Days is an important character (and perhaps the most important one), the book has a kind of timeless, universal appeal that made a film version in the»50s relevant and entertaining and could make a new adaptation feel the same.

Not having read Roald Dahl's 1982 children's book, I can't say how faithful this adaptation is (though colleagues have suggested that darker aspects have been watered down), but it seems to follow the same basic trajectory: Cute British orphan Sophie (newcomer Ruby Barnhill) gets abducted by the title character (played, or performance - captured, by recent Oscar winner Mark Rylance), who turns out to be the smallest and kindest inhabitant of Giant Country; Sophie winds up enlisting the Queen (Penelope Wilton) in an effort to stop the other, meaner giants (led by a performance - captured Jemaine Clement) from eating England's children.

It humanizes Kenny, too, in the arrival of an even creepier older brother (Brett DelBuono) who uses the same language Kenny has used in humiliating Owen — the same tactics, too, in identifying the character as a representative of an Old Testament kind of retribution.

When Tunstall is killed by Murphy's (Jack Palance) men in a kind of frontier - style hostile takeover (Fusco, recognizing the difficulty of condensing the politics of the Santa Fe Ring for Young Guns» demographic, counts on Palance's black hat and beady stare to do his adversarial bidding), Billy becomes the de facto leader of the now - deputized Regulators (best shot, loudest mouth), leaving Sheen to pretend that his and Estevez's characters are not obviously from the same gene pool, Sutherland to romantic pursuits, Phillips to blur ethnic lines per usual as a Mexican Navajo, Mulroney to twitch, and Siemaszko to also twitch.

Tika Sumpter as Michelle oozes class and a headstrong personality from the get go, and also makes sure to be distinct but, at the same time, showing more personality and gumption than most female characters written in this kind of role.

From a purely narrative standpoint, it has to be admired for its sheer audacity and sense of assuredness in recreating the kind of intricate, multi-modal, long - form storytelling that comic books have been utilizing for decades; a wrong step at any point could have brought the whole thing down, as we witnessed last summer with Universal's «Dark Universe» non-starter The Mummy (2017) and, to a lesser extent, rival DC's fitfully successful, but mostly disappointing attempt to do the same thing with its stable of comic book characters.

The same characters are back, but they seem infused with new life, and the galaxy with a new kind of hope.

There's no question the film feels semi-autobiographical, with Ronan channeling the same kind of prickly, self - centered characters Gerwig is known for.

She acts and speaks with the same kind of naturalism as the other characters.

I went to the set once, which was kind of strange, a bit like déjà vu, with Richard and Agyness there, but it was very much for me, it was their movie, Richard was playing this character and he was going to play it in a certain way that was going to be different from the people that I worked with, and that's great, because why would you want to do the same thing again?

Kind of a cheat with the infusion of two names of the same character, but I'm going to let it count.

It all kind of breaks down like you'd think it would, while at the same time each character carries their quirks in such a way that even though you see exactly how things are going to break down in order to reach that expected super-happy ending there's still quite a lot of surprise in some of the bumps along the way.

There is a generosity of spirit that exists in the characters and stories Gerwig writes, and it's the same kind of welcoming star power that she puts into her acting roles.

Well, Lenny's wife Roxanne (Salma Hayek), who even Lenny admits in the movie's single and genuinely clever joke is too beautiful for him, is over-emotional (the movie's opinion of her) because she wants to have another kid, so it does aim one sexist stereotype at one of its few major female characters (Speaking of sexism, can we talk about the MPAA ratings board's glaring double standard in pointing out that a movie's nudity is of the «male rear» variety, directly implying that there's something different — worse, more offensive — about the same of the female kind?).

That said, the creation of the main characters was a challenge for the team, according to co-director Graham Annable: «Their arms and legs have to be able to come out and go in separately at different speeds, and their heads need to disappear inside, and at the same time, they need to be capable of all the range of movement of any kind of a normal, human puppet.»

HollywoodNews.com: Jason Isaacs has always been one of those actors who has that kind of rare, fun love - hate appeal for his fans: we love to hate the characters he plays but at the same time, we can't help but love the deliciously evil way in which he plays them.

These are questions that haunt us in the same way they haunt Jones» character, a fundamentally good and decent man who can not fathom the kind of senseless crimes and the horrific motivation behind them that he reads in the papers daily and is now witnessing first - hand.