Sentences with phrase «whose lust»

Roseline Enescue didn't ask to become an immortal, to have all of the guests at her wedding slaughtered, or be forced into marriage with a man whose lust for blood would one day ignite the vampire legend.

It's suspense... supernatural suspense with an evil spirit, whose lust for revenge is not bound by time.

The first part, however, is about the mobster, Palmetto (a typically loopy Vincent D'Onofrio), whose lust for glory nearly gets him bumped off but then bizarrely turns him into a tree - preservation advocate.

Not her bedraggled excuse for a husband Phil (William Fichter) who, while keeping his marriage vows, sneaks off to the local love shack for some illicit playings of the Wheel of Fortune board game with local diner waitress Rona (Jamie Lee Curtis); Not her dimbulb, lackadaisical moron of a son Jeff (Marcus Thomas) whose lust for Lite, as in Miller, cost him the use of his right hand (how the residents tell the story is one of the highlights of the flick); Not Jeff's partner Bobby Calzone (Casey Affleck) who takes it on the chin from every member of the Dearly family or his fiancé Ellen (Neve Campbell) who giggles hysterically when she hears the news of Mona's demise.

His mother (Angelina Jolie) is a two - dimensional caricature of the scheming, ambitious woman whose lust for power is channeled through her son.

Not exact matches

Ezekiel 23:20: «She lusted on account of their concubines, those whose basar is the basar of donkeys, and their flow the flow of stallions.»

Wills says that unlike the popes of old, whose overriding sins were greed, venality, and lust for temporal power, the modern popes, beginning with Pius IX, recruit Catholics into «structures of deceit» about Church doctrine and discipline.

It was not that to marry stopped the «burning» of lust or concupiscence, but that once married one could yield unconcernedly to this «burning», whose satisfaction is legitimised by marrying.

We need a leader with a vision, not someone whose sole aim is to manage things a bit better, or is driven by his own hubris, vanity and lust for power and status.

Yardley's study gives hope that this technology is feasible now, and in a world whose coal lust is unlikely to diminish, quick reactions — in sandstone or by coal plants — may be just what is needed.

Other titles in this section include: Naomi Kawase's sweet, light and leisurely AN; Tom Geens» COUPLE IN A HOLE, about a couple living in an underground forest dwelling to be left alone to deal with their mysterious grief; DEPARTURE, Andrew Steggall's delicate first feature about longing, loneliness and nostalgia for a sense of family that may have never existed; Jacques Audiard's Palme d'Or - winner about a makeshift family trying to cement their bonds, DHEEPAN; the World Premiere of Biyi Bandele's FIFTY, a riveting exploration of love and lust, power and rivalry and seduction and infidelity in Lagos; the European Premiere of Maya Newell's documentary GAYBY BABY, following the lives of four Australian children whose parents all happen to be gay; Mark Cousins returns to LFF with his metaphysical essay film I AM BELFAST, Stig Björkman's documentary INGRID BERGMAN — IN HER OWN WORDS, a treasure trove of Bergman's never - before - seen home movies, personal letters and diary extracts alongside archive footage; Hirokazu Kore - eda's beautiful OUR LITTLE SISTER, focusing on the lives of four young women related through their late father in provincial Japan; the European Premiere of Mabel Cheung's sweeping Chinese epic based on the true story of Jackie Chan's parents A TALE OF THREE CITIES and Guillaume Nicloux's VALLEY OF LOVE starring Isabelle Huppert and Gérard Depardieu in a tale of love, loss, memory and the mystical.

Villainy comes in the caped form of Australian actor Ben Mendelsohn, whose seething callousness and desperate lust for power make him a truly malevolent figure (though his human frailties are exposed in one memorable encounter with a certain Imperial Lord).

It presents, on the brink of civilization, early modern man, whose God - loving and fundamental lust for vengeance still drives today's civilized man.»

That said, there's a lot for sports car fans to lust over at this year's event, above and beyond the quirky home - market kei cars and crazy concepts whose ideas may never see the light of day.

The Devil in Disguise is a fantasy romance based around the actual Devil, in the form of Luke Thorne, and a startling seductress, Mina, whose stories intertwine as they get caught up in lust, flesh, and action packed adventure.

They begin with William Rackham, an egotistical perfume magnate whose ambition is fueled by his lust for Sugar, and whose patronage of her brings her into proximity to his extended family and milieu: his unhinged, child - like wife, Agnes; his mysteriously hidden - away daughter, Sophie; and his pious brother Henry, foiled in his devotional calling by a persistently less - than - chaste love for the Widow Fox, whose efforts on behalf of The Rescue Society lead Henry into ever - more disturbing confrontations with flesh.

This benefit may be particularly true with someone like Williams — who retains a larger - than - life reputation for being a troubled artist, and whose personal angst certainly plays out before us on the stage in his great dramas, but who, as these letters show, had a charming wit, a keen mind and an endearing lust for life.

The latest episode of «Book Lust with Nancy Pearl» features an interview with Paul Auster, whose new book, a memoir, Winter Journal (Macmillan / Holt; Macmillan Audio; Thorndike Large Print) was published in August.

A lifelong librarian whose book commentaries appear on NPR's Morning Edition, Nancy was greeted with howls of criticism when she signed on to help Amazon create the Book Lust series.

Vater Staat may radiate a kind of sublime sympathy, maybe even benevolence, but there are other figures behind him who lust for power and are completely without scruples: villains and swindlers, criminals whose intentions are ill - concealed.

The figure of the muse, Robert Graves's «Mother of all Living, the ancient power of fright and lust», became less burdensome as manifested in The Giantess (c. 1950), whose colossal central figure towers over the scene like a Madonna della Misericordia.

Or does he so lust after Richter (and Marsden Hartley, another painter whose style he'd like reproduced for a low price), that he is willing to cross the line and solicit what is essentially a forgery / plagiarism / replica, which he'd like to pass muster with a major New York curator?

Violence and its Freudian cousin voyeurism play lead actors in this group of psychologically charged assemblages whose small - scale format adds to the sense of nervous suspense and where lust, seduction and yearning get collaged into something that only the viewer - cum - voyeur can drag up from deep within.

In good part to a partisan or fearful (gutless) CS academic community playing by whose protocol specifically??? Explain the motives of their appeasement or worse their support for the blood lust seen in NYC Sunday?