Sentences with phrase «so than drama»

More so than drama studios, music rooms will have a more recognisable impact on the whole school building.

Not exact matches

Why is it so hard to believe that people truly are judged based on their actions — and that if the perception is that the drama you bring is greater than your results on the field, it could have an impact on your employment options?

1) This is not a particularly hospitable place for agnostics 2) Nothing would crush my parents more than learning that their daughter has walked away from the faith 3) I have a book deal with a Christian publisher 4) I want to keep my Christian friends 5) My doubts come and go, so there's no reason to unnecessarily drag the people I love through my drama 6) If I fake it maybe I can convince myself that everything's okay

Golf's visual drama rests less in action than in reaction, so the game's most arresting photographs have little to do with hitting the ball.

Yeh they lost cause no penalty calls but seriously how can a team like Chelsea with so much class players being 2 nil up at home lose 4 2 imagine if that was Arsenal we would all pull the rope on Wenger Would love to hear if they have a forum like this to hear there comments It's what makes this competition the best even I would say than the World Cup is second to FA just for the Drama that unfolds England has created a beauty in this Comp I get the photo out every year to see the Copper on the White horse at the first Wembly final CB

But because it's so much simpler than toddler tantrums and theater camps and best friend drama.

So if they have picked up a signal, they would have captured the final stages of the drama, when the black holes circle more than 10 times per second, speeding up to several thousand times a second just before they merge.

i'm consider as family type of man whos looking to settle down with one lady i love children and easy going, drama free i love to listen to a woman not talk so much until i understand her point.i look better in person than on picture so do nt let the picture fool you

I have kids, so I am too busy for drama or a relationship other than friends right now.

I'm not about drama or games so if you're looking for someone to play a game with on here you might want to pass my profile up cuz I'm not the one I've already been through it and know it other than that I'm just me

The best gals I have ever hung out with are older than me and I have so much fun because they do not have any, or much drama like most gals these days.

Lucy Feb 11 2018 11:00 am I've thought while watching every drama & movie Yoon So - Hee & Park Shi - yeon have been in that these two would be perfectly cast I'm so tired from waiting for Yoon Eun Hye to pick her next project I'd rather she take the first one to come along rather than continSo - Hee & Park Shi - yeon have been in that these two would be perfectly cast I'm so tired from waiting for Yoon Eun Hye to pick her next project I'd rather she take the first one to come along rather than continso tired from waiting for Yoon Eun Hye to pick her next project I'd rather she take the first one to come along rather than continue

Why do so many dramas depict doctors and nurses spending more time having sex on the job than they do treating patients?

© 2018 Contenko - Home - About - Contact - Privacy - Terms Why do so many dramas depict doctors and nurses spending more time having sex on the job than they do treating patients?

This wonderful film could have so easily been made into a silly comedy but is fortunately instead a bittersweet drama that relies on a captivating performance by the always talented Ryan Gosling, who gives life to a sensitive character that never seems less than real.

Unfortunately The Sleepwalker is nothing more than a tone - deaf attempt at the kind of psychological drama its predecessors did so well.

Of course, reflections on laziness are as clear as they ever are when found within the conventionalism of the storytelling, which, no matter how intriguing in a lot of ways, hits trope after trope as a very»90s biographical drama, - complete with the sentimentality - even if it does so with a little more structural unevenness than usual.

Director Max Joseph (MTV's Catfish) makes his narrative feature debut here and while he is keen on tapping into that younger audience he knows so well, at thirty - three this drama of young angst feels more manufactured than authentic.

Far from Heaven is indeed a great movie because it has such high aspirations - a movie from 2002 that dares to style itself after a 50's drama and to do so via (gasp) a subtle script rather than relying on special effects and things blowing up etc..

Each one of these Alex Haley series have been relatively surprising in their, by network TV drama standards, genuineness, with this series continuing the «Roots» mythlogy's tradition of being more evasive of subtlety issues than it could have been, though not quite as much as it should have been, for although this series is generally genuine, there is the occasional manipulative moments, some of which go so far as to dip into melodrama.

Even as characters are tweaked and actors bring a slightly different energy than his other movies, The Best of Me is still the same mushy Nicholas Sparks adaptation with drama so overwrought audience members can't help but laugh — at least until they're sniffling during the closing credits.

«The Intervention,» it must be said, is also just a really entertaining drama — a feel - good movie that doesn't try so desperately to be a feel - good movie, partly because DuVall relies more on situational comedy than straight up jokes.

The spark is gone, and nowhere is that more apparent than in «Unfinished Business,» a so - called comedy that has been marketed as a bawdy, dudes - on - a-business-trip lark, but instead plays like a largely unfunny drama that snuffs out any vitality Vaughn might have possessed.

Owing more to sports drama pacing than you are anticipating (the film is co-produced by ESPN's film division), the film is so vibrantly alive as to never succumb to the sluggish pitfalls of overly familiar narrative structures.

So we did sort of dial it slightly towards more psychological drama and horror than the monster movie homage that was in the original movie.

It is a riveting half - hour drama about a young woman who becomes a high - end prostitute, which may make it sound like little more than salacious cable programming, but there's SO much going on here that it takes more than one viewing to really appreciate it.

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

Because the film contains so many characters spread out all over the globe with only a single link between each, the film plays more like an anthology (like «Paris, Je T'Aime») than a multicharacter drama whose characters arcs are linked together inextricably, like we get in, say, «Magnolia.»

Based on a novel by Durian Sukegawa, Sweet Bean (known also as An and Sweet Red Bean Paste) is a delicate, enchanting, layered Japanese drama about so much more than food.

It's not just the jarring score or the way Perry's camera lingers distrustfully on both Catherine and Virginia that make Queen of the Earth so evocative of its predecessors - Perry's film is more than the basic components of psychological drama.

Claire Denis resolutely refuses to make simple movies, so this intense drama set during a civil war in central Africa feels somewhat elusive as it concentrates on emotions rather than plotting.

More than a love story or a legal drama Nichols» delicate and subtle approach to the film allows for a more thoughtful understanding of why the Loving case is so important.

There's is a lot of irony, juxtaposition and contrast going on in this film but that's what makes it so multi-layered and much more than your average slice - of - life drama.

Both principal actors have a strong enough sense of their characters, even as they're pulled into increasingly harrowing places, to make the film a more successful one than Loach's last few, but it's still schematic and predictable, and it aggressively stacks the deck against Blake and Kattie in a way that makes it more effective as social activism, and less so as drama.

Though the biker drama's penultimate season has plenty of things worth celebrating (including a larger role for Mark Boone Junior and excellent guest stars like CCH Pounder, Donal Logue and Walton Goggins), a lot of the conflict this time around seems to be less about driving the narrative than shocking the audience, none more so than the death of Maggie Siff's Tara.

Steers is clearly more interested in the period drama elements than Grahame - Smith's contributions, and rightly so, because the best moments are those retained from the original text.

It's just so damn depressing, and more than once feels rather exploitative, plumbing the depths of misery in an attempt to create drama.

I've quit watching FX's «Sons of Anarchy» more than once, mostly because I can give only so much head space to the violence that permeates the motorcycle - gang drama.

A major problem with romantic comedy - dramas (or dramedies) is that the genre is so immediately familiar that the mechanics of the story allow accurate prediction of the final outcomes, an issue that is even more important than usual in Definitely, Maybe.

While this dysfunctional family drama is more depressing than inspiring, it is certain to impress at least one strong warning on those who view the film: Once you have built a barrier it is hard to tear it down, so be careful when choosing which things to encircle and which things to close out.

The result is a raw drama that's so absorbing you won't have time to think about anything other than the present.

The first two acts of The Maze Runner play out exactly as you'd expect them to, with all of the various details and requisite dynamics sketched in through the thin characterizations of the group's leader Alby (Aml Ameen, who along with Sangster are the only actors who manage to escape this unscathed), the rote and relentlessly irritating (for no reason other than drama) group villain Gally (Will Poulter, whose acclaim and popularity continues to baffle me as he turns in another dreadful performance), the trite cliche of the young innocent Chuck (Blake Cooper) and so on.

Faulting only with some fleeting moments of flippancy, Battle of the Sexes wins by serving up both a crowd - pleasing spectacle and the human drama than ultimately made it so much more.

So while Hollywood chooses this time of year to start shelling their award hopefuls, many of them emotionally draining dramas, the search for a palette cleanser seems more of a necessity than a choice and this year, DreamWorks Animation is delivering the goods.

Rupert Everett's directorial debut The Happy Prince follows in the footsteps of no less than three attempts to catalogue the life of literary legend Oscar Wilde, and does so with the panache that one might assume necessary for fictionalising his life, but there's a curious gaudy slant to proceedings which sees it not far off BBC prime time drama territory.

Great Directors on TCM: Howard Hawks Even more so than Wilder, Howard Hawks genre - shifted with ease, including westerns and musicals along with comedies, action films, noir and drama.

12:00 N — TCM — Brief Encounter Beautifully understated romantic drama of a chance encounter at a railway station cafe between two married people who know better than to indulge their burgeoning love for each other, but do so anyway.

At its core, the JJ - verse is still a dumb, loud vehicle for big - budget action set pieces and nonstop explosions, so it's unlikely we'll ever get a tense sci - fi drama with more talking than punching.

Though he does a better job for longer than you'd expect, director Alan Taylor (who transitioned from respected cable dramas to film on 2013's pretty good Thor: The Dark World) can not overcome the fact that there's only so much a person needs to see of one indestructible character fighting another, each bouncing back from seemingly certain death on multiple occasions.

This actually doesn't look so bad, more of a drama than a horror, but it looks to get into some werewolf action by the end.