Sentences with phrase «than actual character»

Although not confirmed in the actual gameplay, character animations (such as jumping, rolling, etc) appear to be splashes of colors, rather than actual character animation.

Nebula isn't even part of the story until half - way through, and then is treated more as a plot device than an actual character.

There is one fight, but it is soon over and Refn seems far too in love with the setting than the actual characters.

Garland does not spend much time on character development beyond the mere acknowledgment that Capra has a family and Searle and Kaneda's fixation on the sun, the latter having more relevance to thematic development and mood than their actual characters.

But even this cuteness wears thin as Wilson and Hudson's acting breaks down in several scenes, making their conversation sounds more like close friends (which they are in real life) who are helping each other memorize lines than the actual characters.

Additionally, while the three leads have great chemistry, Hahn and Bell are stuck in such one - dimensional roles that they're treated more like party favors than actual characters.

Most characters feel more like impressions, or shades even, than actual characters and this is in large part due to the fact that the Coen Brothers dedicate a significant portion of their film to hat - tipping to the performers, personalities and pictures of periods past.

Not exact matches

But you are shadowboxing with attacks on my character rather than an actual discussion.

Thus, Whitehead holds that it is the actual occasion which decides which eternal objects it will participate in, so that one must not look to the eternal objects to explain why one enters existence as a character present in some actual occasion rather than another.

As the first determination of real potentiality it is given with and by the actual world of each occasion, but in itself it arises out of the general character of the world rather than out of that particular actual world of which it is the first determination.

In her case one of the New Testament's major figures remained of virtually unknown origin, character and destiny, so roughly sketched that she could easily be confused with other unnamed and unsketched women and grow into a myth far different, far richer in some ways, than her actual self.

And while some TV has been essential viewing for believers because a show finds a way to show a Christian as an actual character rather than a stereotype, TWD succeeds spiritually as an overall metaphor, rather than putting just one or two believable Christ followers on screen.

Finally, it should be pointed out that Whitehead himself is unable to stick with the postulated uniform character of an actual entity as resolutely and univocally as he alleges: God as an actual entity is more than just specifically different from the other actual entities.

was his intention to secure the universal application of principles other than the ontological principle, for example, the dipolar character of actual entities?

The objective unity of the world, even though the experience of it may be difficult to reconstruct, is not of a character more lacking in evidence than the concretion of the world in actual, perishing occasions.

At times, she seems to be playing an idea of a character, more than an actual person.

as a kid i grew up with transformers for toys, but didn't watch the actual show (aside from beast wars) until last year, so i wouldn't consider myself a fan boy, but when a tv show based around toys from the 80's has better dialog, humor, character development, and plot than a high budget Hollywood film, you know something is wrong with the film industry.

Ironically, given a show that so clearly wants to touch its audience — from that weighty one - word title on down — we have met, apart from Martin, hardly a single character who incorporates more than the hint of an actual person.

There's not much to the actual character other than that.

Davis mentions early on that he likes the company of animals more than people, but to say he has no actual character would be an understatement (George is actually more developed).

I love the aesthetics and the characters were fun, but it took me awhile to realize that I was Trumping on everyone instead of just talking to them or trying to shake their hands, and the fact that the actual battle sequences were based entirely on guessing where the invisible monsters were going to go and took place on the same piece of graph paper that you did your planning on made it feel like a cheap game of Marco Polo rather than the Japanese high school equivalent of the Ghostbusters...

Similarly, the textures are flatter and character models a little more angular (and when they turn to ice it's just blue rather than an actual ice layer), but Climax has still done an admirable job with this port.

The dialogue is sparse, to say the least, and there's more nibbling on earlobes than there is any actual verbal exchanges between the characters.

Rather than the predominant emphasis on violence and fighting that is found in action films, however, the viewer of adventure films can live vicariously through the travels, conquests, explorations, creation of empires, struggles and situations that confront the main characters, actual historical figures or protagonists.

Certainly not for even the slightest modicum of character development or dimension, as a talented cast led by Jennifer Lawrence and Javier Bardem is criminally underserved by a script that treats their characters as props rather than actual people with inner lives who the audience are supposed to care for.

Glastonbury (15) Running time: 135 min *** Julian Temple's loving documentary may at first appear to be aimed at the sort of music fan who prefers Glasto streamed live to their TV.But this collection of archive and commissioned footage from 36 years of England's greatest music festival is likely to appeal more to diehard fans than non-festival-goers, since it revels in precisely the eccentricities that makes the armchair people dive for cover.Most of this film is a structureless, rambling celebration of Glastonbury's boozy, hedonistic, liberated, political and frequently bonkers character rather than of the actual music: great if you were at the party, presumably less great if you weren't.

It doesn't help that this is an Eighties flick, redolent of the standard biases of the decade: Since Stiller and McCarthy are playing trust - fund babies (in a manner of speaking), the filmmakers are far less afraid to flaunt their penniless affectations than those of the actual poverty - stricken characters — like Ringwald's, who appears on - screen only in conjunction with Matt.

Craig deserves a lot of credit for the amount of actual stunt work carried out himself but the rest of the casting feels a little too popular rather than right for the character.

Director Jonathan Levine (50/50) and his team of writers (including Evan Goldberg, natch) dip a toe in schmaltz rather than investing at all in actual character development, preferring to string together episodes of goofball fun.

Disney tries a few new tricks with an African American cast of characters (the first time since 1947's Song of the South), a contemporary setting (New Orleans in the 20's), and a «princess» in the form of a working class girl with a dream, but more than that, an actual willingness to roll up her sleeves and do something about it.

As we watch young African - American characters — and a few young white women, too — mistreated and / or killed in scenes that go on and on and on, it's hard not to wonder whether Bigelow (and the material) would have been better served by not teaming up with her usual (white) screenwriter, Mark Boal (who also wrote The Hurt Locker and Zero Dark Thirty), just to bring in the perspective of actual people of color, rather than that of white liberal guilt.

Surprisingly, Rosie Huntington - Whiteley is a welcome improvement in the love - interest department — though her actual character, Carly Spencer, has less of an edge than Megan Fox's Mikaela Banes.

is a funnier gag reel than the actual gag reel, sort of, as Tolan and Leary riff on how many ways there are to kill characters as a threat to actors missing cues and flubbing lines.

Captain America: Winter Soldier artfully dodges nearly every typical superhero movie problem (as well as general sequel problems) with a stunning grasp of mood, total commitment to a «square» character, a smart choice of villain, and thrilling action scenes that feel authentically dangerous (a complete rarity in blockbusters) rather than like stop - and - gawk «setpieces» with no actual stakes.

This all comes off as more interesting in the synopsizing than in the actual telling; screenwriter Peter Landesman («Parkland») and director Michael Cuesta («L.I.E.,» the «Homeland» pilot) bobble their portrayal of journalism early on — you'll flinch if you know the first thing about newspaper captions or the inverted - pyramid style of reportage — and they (along with Renner) never make Webb a captivating enough character to follow through the ups and downs of this saga.

But that's less of a problem when we come to realize this isn't a character - driven piece, that Lockhart is really just a plot device rather than an actual human being for whom we're supposed to feel something — perhaps pity.

Just like his recent Tintin character, Spielberg's young lead Irvine has an almost whimsical innocence to him, representing youthful dreams and determination more than an actual human being.

In The Raven, he almost comes across as a cartoon character rather than a real person with real problems — it almost makes a joke of the actual person.

A skateboarding road - trip flick that will bore real skateboarders silly (and I should know — I've been one since the late»70s), it includes barely 10 minutes of badly - edited actual boarding, less than half of which features the main characters (no - name actors using obvious stunt doubles), who in the course of the movie perform only one trick (at the very end) that's beyond the abilities of any dedicated junior high school punk with a modicum of talent.

Maybe he's more concerned with the actual character and potential downfall of Liz Sloane than the topic she is fighting for.

Characters, including a detective played by Allison Janney (The Way Way Back), behave in improbable ways, motivated more by narrative needs than actual human psychology.

When the first images came out I felt it was kinda dull on the graphics, but after seeing images of different characters, stages, items, and actual gameplay (with better quality than those 720p ND videos), I started to see the game in a new light.

When a film like Prince appears out of nowhere, with its pseudo-incendiary electronic score and sophisticated examination of revenge, it revives hope for a pop - art cinema that's not only capable of balancing enraged critique with playful, irreverent aesthetics, but also treats its characters like actual human beings rather than pawns on a chess board.

Helped by screenwriting and direction that pruned away the worst excesses of E L James» largely unreadable book, Johnson even managed to imbue the pallid character of Anastasia Steele with some actual personality and wit, and became far more watchable and engaging than the material really deserved.

The actual Jack and Jill is far more sinister, nothing less than a feature - length actualization of the «piano man» scene from the same film, in which Sandler's George Simmons character, in a stream of smiling - aggressive invectives, makes it clear just how deeply and thoroughly he holds his audience in contempt.

Rather than just making a game that followed the events of the story, they focused on the possibility of playing with the Toy Story characters as one would actual toys.

Larson is the best thing about the film, but she's punching below her weight, serving mostly as a prop to back up a larger point, rather than getting to craft an actual character from the ground up.

That said, it's a lot more interesting than the actual life of most pets, with a cuddly bunch of characters, plenty of action, and a good amount of funny moments.

I do think Leigh could have fit this character into an actual tale that revolves around more than just a series of driving lessons, but even without this typical movie ingredient, Happy - Go - Lucky still provides for a very entertaining film - going experience.

The relationship between Doug and Eva in particular provides some of the film's best «quieter» moments, and while much of Goon 2 is little more than a well - crafted sitcom of a movie, there's always something to be said for a sitcom that treats its characters, however broad and silly, as actual human beings.