Sentences with phrase «upon the characters from»

Think Poke Ball but instead of summoning a Pokemon, you're calling upon a character from Nintendo past like Samurai Goroh who slices and dices anyone who gets in his way or Little Mac who pummels any nearby opponent.

Not exact matches

Because of the erroneous assumption thrust upon us that because you are having hard times it is a result of a persons personal character, a catch 22 traps and hinders people from being employed.

... Those who make a great profession of religion have need to walk very circumspectly, to abstain from all appearances of evil, and approaches towards it, because many eyes are upon them, that watch for their halting; their character is soon sullied (defiled, tainted), and they have a great deal of reputation to lose.

The undeniable fact that Jesus loves ALL mankind seems to be lost upon many who profess to follow Him, while the fact that He came to deliver us from the bondage of «natural» desires, those carnal impulses which contradict the spiritual nature for which we were created, seems lost on many others without regard to any principles of character which conflict with the principle «if it feels good, it must be right».

Angels, visible in human form, appear as characters in the narrative and address the chief actors; an angel descends from heaven, rolls away the stone which sealed the rock tomb and sits upon it.

What kind of thinking can a reasonable, intelligent person use to justify this kind of character assassination upon someone they hardly even know and had never had a hard word pass from my lips to theirs?

But some Bunyan, writing Pilgrim's Progress in a prison where it was so damp that, as he cried, «The moss did verily grow upon mine eyebrows»; some Kernahan, born without arms and legs, but by sheer grit fighting his way up until he sat in the House of Commons; some Henry M. Stanley, born in a workhouse and buried in Westminster Abbey; some Dante, his Beatrice dead, he himself an exile from the city of his love, distilling all his agony into a song that became the «voice of ten silent centuries», or some more obscure and humble life close at hand where handicaps have been mastered, griefs have been built into character, disappointments have been turned into trellises, not left a bare, unsightly thing — such incarnations of fortitude and faith have infectious power.

But his answer diverges in two ways: (i) In speaking of «lateral tensions» as having some influence on what each natural moment passes on to later moments, Santayana is in conflict with Whitehead's view that in its process of becoming an actual occasion is causally quite detached from its contemporaries, and operates privately upon the past occasions which have entered into it in order to produce that over-all character which it will pass on to later occasions.

It was only then that «the fundamental and persistent character of the Messiah, as of one rising from humanity and clothed with power, was displaced by... a heavenly being, who came down to the world, sojourned in it, left it, ascended to heaven and now enters upon the dominion of the world which originally belonged to him.»

But although Dodd's emphasis upon the objective character of» the Wrath» is justified, nevertheless it is clear from this very passage that Paul did not hesitate to ascribe to God responsibility for this judgment.

If I may adapt Paul's words to an unintended use, Jesus in the early church was the object of faith, hope and love; but here, too, love was «the greatest of these,» because both faith and hope rested firmly upon it and derived their character from it.

To develop this procedure, Gregory commented upon a powerful metaphor from Ezekiel, who spoke of first digging at a wall until there appeared a door, through which he then went in where he beheld the «abominations,» the hoary characters, the fantasies of deceit.

In Africa, South America, and now Asia, these Christian movements have reordered the character of moral life, calling upon the power of God to save families from alcohol, from domestic abuse, and from the hopelessness of poverty.

... I can tell the very place where the blessed Polycarp used to sit [note the posture of the bishop as teacher or preacher upon his cathedra] as he discoursed, his goings out and his comings in, the character of his life,... the discourses he would address to the multitude, how we would tell of his conversations with John and with the others who had seen the Lord, how he would relate their words from memory... and I can testify before God that if that blessed and apostolic presbyter had heard the like [the Gnostic vagaries], he would have cried aloud and stopped his ears and said, as was his custom: «O good God, for what sort of times hast thou kept me, that I should endure these things?»

Meanwhile, the minister was likely to be completely isolated from the sustaining power and status - giving context of his church, and, thrown into intimate face - to - face contact with his lay people, made dependent upon his own character and something as intangible to most colonists as «the Spirit» for whatever of prestige he could gain and leadership he could give.

Haas also has called upon the services of Timon the meercat and Pumbaa the wart hog, two cartoon characters from the Disney film «The Lion King.»

There are many different kinds from disposable pull ups, generally frowned upon during potty training, to character underwear.

Because it would serve no useful purpose, we will refrain from spreading upon these pages the attacks made by each party as to the character and fitness of the other.

Having a familiar character, like Elmo from Sesame Street, teach your child about the potty training experience they are about to embark upon or are already going through will help them feel a little more at ease.

Upon his return from the war, in 19s5, he was in charge of the demobilization of returning officers in Lagos a duty he performed excellently, this earned him an award of Exemplary Character of the Army Fourth Brigade.

iZOMBIE is based upon characters created by Chris Roberson and Michael Allred for Vertigo from DC Entertainment.

Upon the success of The Golden Girls creator Susan Harris later devised Empty Nest as a spin - off from The Golden Girls with some character crossovers.

From there, the story of two men, each centred in a morally different universe, unfolds as Mangold piles layer upon layer of character depth upon each, while at the same time picking away at the bleakness of Wade's fibre to slowly reveal glimmers of humanity.

Taking inspiration from the personal life of his leading man (Lustig is a widowed grocer upon whose stories the screenplay is loosely based), Weinstein draws on his experience as a documentary film - maker to conjure a drama rooted in the reality of these characters and their community.

It continues to build upon its characters and gives meaning to its choices, but it also suffers from similar problems, including poor gamified sequences.

It's only upon reflection that viewers may realize that, despite its nominal title character, the movie never delves that deeply into who Gloria Grahame was, aside from a femme fatale slinking across a black - and - white screen.

His Will is gently prickly, a little aloof, driven by money rather than sentiment — and spared from having to learn the lessons three - act screenwriting usually imposes upon such characters.

Featuring characters from across the libraries of Bandai Namco, Capcom and Sega, players could make huge stars like Street Fighter's Ryu call in support from Space Channel 5's Ulala and rain death upon enemies with the help of Opa - Opa from Fantasy Zone.

The «Empire Strikes Back» of the «X-Men» series, «X2» not only followed up on the pretty - darn - good original film but improved upon its every aspect — raising the stakes and the scale while seamlessly introducing new characters and growing bit players from the first film into full - fledged members of the team.

Sentenced to three years in jail upon getting into a scuffle with a couple of fuzz trying to stop him from busking in the park, Otis, for starters, would be a far more resonant character if he were portrayed by a black actor (it doesn't count that the icky Matthews suffers from delusions of soul), since there's nothing to justify his martyr complex.

From the nail - biting tavern scene in which Kruger tries to mediate a tense showdown between the Nazis and the Basterds to the unforgettable climax in which Laurent's own version of happily ever after is revealed (the movie begins with «Once upon a time...»), the female characters are unquestionably necessary, powerful, and unforgettable.

Through this ironic casting, La Paura not only draws upon the personal biographies of its two lead performers, but also more importantly undercuts the melodramatic narrative by preventing the audience from completely investing in them as real characters.

DeMonaco improves upon the plot and character weaknesses from his previous film to increase a sense of realism.

Sweet Home Alabama, victimized by knee - jerk reactions to NRG surveys (in addition to reshooting the finale because a bait - and - switch gag made especially gullible preview auds uncomfortable, Tennant removed a subplot that cast doubt upon the Patrick Dempsey character's fidelity to Reese Witherspoon's), is thus paralyzed from the studio logo down; sometimes you're supposed to be provoked, sometimes that's the point.

Haddish's is the kind of late - career, ostensibly out - of - nowhere rise that awards - season voters often like to acknowledge with nominations and, occasionally, awards: The character actor who's spent years shining from the sidelines, until suddenly, she lands upon the perfect role and vehicle with which to showcase the range of her talents and finally reach a mainstream audience.

If the characters in Lady Macbeth stumbled upon the figures from a Jane Austen novel, a fistfight would probably ensue.

Colin O'Donoghue and Robert Carlyle play characters who hail from a mystical land on ABC's Once Upon A Time: Hook and Rumplestiltskin, respectively.

The Alpha titles (Street Fighter ZERO in Japan) not only added new characters and lore to the Street Fighter franchise, but developed and built upon gameplay mechanics that have shaped the series right up to Street Fighter V. For this highlights compilation, LiangHuBBB shows off a gathering of clutch moments and hilarious interactions from Street Fighter Alpha 2 and Street Fighter Alpha 3 — the titles that garnered the strongest competitive followings from the trilogy — that help remind us why these games are still fan favorites in Street Fighter history.

No one emerges from the exercise unscathed; in fact, the beatings suffered by the main characters, the one upon the other, are a perfect metaphor for the movie's effect on our view of their skills.

Focusing on an aspiring musician who stumbles upon an eccentric pop band with an unpronounceable name (they call themselves The Soronprfbs), this oddball comedy does its best to distance itself from an audience looking to make connections with key characters.

Apart from building your character's skills via experience and the skill tree, you also can improve upon and build new weapons.

There's nothing wrong with a little suspicious check on the downside of technology every now and again, but the way the movie dismisses its central technological conceit wholesale means that we're essentially watching characters go through the motions until events lead to a point where there's no room for any idea aside from the destruction of what mankind has wrought upon itself.

by Bryant Frazer Very early on in Blue Streak, as Miles Logan, the character portrayed by a fast - talking Martin Lawrence, co-opts Dr. Martin Luther King's famous «I Have a Dream» speech to describe his own civil rights movement upon getting released from the joint after serving time for his role in a botched jewel heist, it's clear the film is aiming for giddy irreverence.

Where The Force Awakens strove to update key moments or feelings from past adventure, Rogue One seeks to recreate a setting or expand upon characters in ways that are both new but recognisably true to what we've seen before.

Bodet filmed a documentary on him in 2007 (Le carré de la fortune, co-directed with Emmanuel Levaufre) and she and Bozon edited a collection of Delahaye's critical writings for Capricci in 2010, À la fortune du beau, a book which has ensured his work remains accessible to contemporary readers.11 Upon Delahaye's death, Ropert described him as a «powerful speaker with humble roots from another age, hardened by a life of brutal detours, passing from fury to kindness without warning, he was a character straight out of Victor Hugo.»

DP Darius Khondji's smudged bronze tones evoke Tonino Delli Colli's work on Once Upon a Time in America, but the film's intimate interiors are pure Gray — literal and psychic homes to which characters retreat and from which they're desperate to escape.

But the movie belongs to its trio of «bovine» stars — Roseanne Barr, Dame Judi Dench and Jennifer Tilly — who play with such tongue - in - cheek delight upon their public personas that it's hard to separate them from their cow characters, who are hellbent on bringing down a vile land and cattle rustler.

Furthermore, they were coached by Dru's father, a practical role model who impressed upon them from the outset that basketball was «more than a game,» to help them see it was a vehicle to be used «to get from Point A to Point B.» LeBron and company took that message to heart, cultivating not only character, individually, but a chemistry and cohesiveness, collectively, which would stand the test of time.

They emerge not from left field, but out of the characters» own pent up rage, and their increasing desire to inflict pain upon the world that has failed them.

Bridesmaids tries to dig a little deeper by showing the kind of female insecurity that would be familiar to movie audiences (not being as pretty as another woman, not finding a good man), but shown as coming from hard - to - control selfishness that's specifically character - based, followed up upon and explored — rather than a default female trait.