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.
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.
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.
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.