Sentences with phrase «so leaving scenes»

So leaving scenes for you to get busy answering the 10 parenting questions.

Not exact matches

After Christ left the scene, the doctrines were perverted by uninspired men and the world fell into the dark ages, as history so aply records.

STONER»S PRAYER Now I pass out into sleep I pray the Lord my soul to keep Grant no other stoner take My weed and bong before I wake Keep me safely in thy sight And grant no crackhead's thrill tonight And in the morning let me awake Breathing scents of wake «n bake God protect me in my dreams and make this better than it seems Grant the time may siwftly fly When myself shall be so high In a green grass weed bed Where I long to rest my head Far away from all these scenes And the smell of bammer smoked by beans Take me back into the land Where the cops never take you out Where the weed won't burn my throat like sand; Where the scent of chronis blows Where the good Mary Jane grows; Take me back and I'll promise then Never to leave BC again... - Anonymous

Humanly speaking his destruction is the most certain of all things — and the despair in his soul fights desperately to get leave to despair, to get, if you will, repose for despair, the consent of his whole personality to despair, so that he would curse nothing and nobody more fiercely than him who attempted (Or it may be the attempt) to prevent him from despairing, as the poet's poet so capitally, so incomparably expresses it in Richard II, Act 3, Scene Z:

So many Marvel villains are spurned with death scenes that reduce them to exploding balls of light or flaking statues of ash, and that leaves their defeat vacant of any real emotion (another byproduct of thin characterization).

Actual crises are rarely resolved so swiftly, and urgent needs remain long after the camera crews have left the scene.

My mum has lived in the Swiss Alps since I left home (I'm the only child of a single parent, so she wanted a change of scene at the same time and we'd spent several winters there already)-- so I also spend a lot of time there.

When Michael Owen left, Fernando Torres was soon on the scene, then when the Spaniard joined Chelsea for # 50m, Luis Suarez was waiting in the wings so it's a scenario that should not faze the Reds.

Wenger still has a keen eye for footballing knowledge and notably talent, so perhaps he could take up a role behind the scene at Arsenal, rather than having to leave the club altogether.

I didn't want to create a scene in front of them so when he came out to open the door to my own car, I whispered in his ear, «I didn't leave on perfect timing, I needed a cigarette from bat shit and you hurt my feelings» I won't go into the rest of the day.

We now know that it's very much about the campaign behind the scenes, so we go behind the scenes of the Leave and the Remain offices.»

There was no accident, so there was no scene to leave.

After so many years of seeing that same scene at the airport, with sons leaving and daughters leaving to follow jobs that were somewhere else.

The researchers left the scene after the snake had loosened its grip and left the two carcasses on the ground, so they don't know if the boa ate the monkeys.

Throughout all those transitions, Whispersync for Voice is behind the scenes, marking my place so I never have to search for where I left off.

His vitriolic articles so antagonized the people we wanted most to reach that we had to persuade him to leave the scene.

Wearing green seems so easy this summer with the tropical leaf prints being one of the hottest trends leading the fashion scene.

This is not to say that you must become wary about every single Russian woman who elicits an interest in your profile, but you could observe some due diligence before entering into any kind of relationship or correspondence with any woman you meet on the net so that you are not left poorer and disgruntled with the online dating scene.

More and more senior singles are realizing that they've got a lot of life left to live and love to give, so they decide to go out and try the senior dating scene.

Leaving little to the imagination, this scene is so offensive that one could easily consider it soft porn.

And though less common than most Bay pictures, the plot holes still crop up, topped by one scene where the villain inexplicably leaves the safety of his office so he can have a final showdown with the hero.

Where the mild - mannered Asquith was content to discuss, persuade, and ultimately defer to his actors in most matters of performance, and build his work around them, Crabtree also left most of the acting to take care of itself, permitting the performers to make the decisions about how to play a scene or read a line, just so long as it made sense and they hit their marks.

So, «Trees Lounge» is all about the drinking life, but, with the Good Humor truck, and the suburban hijinks, it's not exactly the sadsack scene of «Barflies» or «Leaving Las Vegas».

As directed by Anthony and Joe Russo, the action scenes are often incomprehensible, which means that far too much of the film is spent waiting for the action to die down so we can see who is left standing.

The directors seem to have lavished so much energy on the choreography of the sex scenes that they have nothing left for verbal expression.

[*** SPOILERS ***] movie would be better if they left out the first scene revealing that cruise would be captured by the bad guy at the end therefor reaveling that no matter what he did durring the movie you knew for a fact that the bad guy would not die untill that scene was compleate and so in all the scenes there was no suspense, you also already knew he would not get to his wife in time and she would be eventualy captured just like hoffman claimed he would do.

The scene with Russell has also left me paranoid whenever I have a headache, so thanks for that Mission: Impossible III.

The bare - bones production sometimes left them with very little room in the bus, and so in many scenes crew - members are simply hiding under piles of clothes.

Producer Nate Moore revealed in an interview that they almost showcased this new arm in the Black Panther post-credit scene, but Bucky felt more «human» without the arm in that scene, so they left him without a new arm, for the time being anyway.

Counterposed scenes of Cornelia fleeing a ghastly Wiggles - style mother - and - baby music session (all her contemporaries have kids, so this is a rare social interaction) and grinding her way through a mofo - ing dance workout identify her as belonging in neither environment, Watts mining both comedy and pathos from her character's inability to move forward or backward; clowns to the left, jokers to the right, stuck in the middle with Josh.

In the movie's early scenes, the queasy feeling that these two don't even like each other is so palpable it leaves a residue of sourness that extends through the rest of the film.

The results of another scene were so starkly terrifying they left me gasping.

So what begins as a lark — with the vast assortment of comic book characters trotting out their costumes; middle - aged Bruce Banner humorously being so out of practice that he can no longer transform himself into the Hulk; Tony Stark bantering once again with Gwyneth Paltrow's Pepper Potts; Holland's Peter Parker looking so childish even he seems to wonder what he's doing in this company; Dave Bautista stealing every scene he's in; Scarlett Johansson and Don Cheadle being given absolutely nothing fresh or original to do; Evans trying to leave his Captain America persona behind him — transforms into something genuinely threatening and grim, something, in fact, that has to be taken seriously: the prospect that evil can wiSo what begins as a lark — with the vast assortment of comic book characters trotting out their costumes; middle - aged Bruce Banner humorously being so out of practice that he can no longer transform himself into the Hulk; Tony Stark bantering once again with Gwyneth Paltrow's Pepper Potts; Holland's Peter Parker looking so childish even he seems to wonder what he's doing in this company; Dave Bautista stealing every scene he's in; Scarlett Johansson and Don Cheadle being given absolutely nothing fresh or original to do; Evans trying to leave his Captain America persona behind him — transforms into something genuinely threatening and grim, something, in fact, that has to be taken seriously: the prospect that evil can wiso out of practice that he can no longer transform himself into the Hulk; Tony Stark bantering once again with Gwyneth Paltrow's Pepper Potts; Holland's Peter Parker looking so childish even he seems to wonder what he's doing in this company; Dave Bautista stealing every scene he's in; Scarlett Johansson and Don Cheadle being given absolutely nothing fresh or original to do; Evans trying to leave his Captain America persona behind him — transforms into something genuinely threatening and grim, something, in fact, that has to be taken seriously: the prospect that evil can wiso childish even he seems to wonder what he's doing in this company; Dave Bautista stealing every scene he's in; Scarlett Johansson and Don Cheadle being given absolutely nothing fresh or original to do; Evans trying to leave his Captain America persona behind him — transforms into something genuinely threatening and grim, something, in fact, that has to be taken seriously: the prospect that evil can win.

The earlier scenes with Harrelson are so good that whenever the movie cuts back to «present day» in New York City, it leaves you wanting.

I could go on and on about all the awesome little touches that fill the film, about the bloody great soundtrack (which include songs composed by Beck, Broken Social Scene and Metric for the fictional bands in the film) and so on, but I think I'll leave it that for now.

Most of the features that make Lewis» directorial work such a remarkable exception to the dominance of a realist aesthetic in Hollywood filmmaking are brilliantly apparent in The Errand Boy, including the foregrounding of sound manipulation (most blatant in the sequence involving the post-synchronisation of the song «Lover» for a musical film, and in the tape manipulation of Kathleen Freeman's reaction to having been left by her driver in the back seat of a convertible receiving a car wash) and the placement of actors in a shot so as to highlight the presence of the camera (as when Morty, an undirected and oblivious extra in a film - within - the - film cocktail - party scene, keeps looking at the camera from the background of a shot in which other extras, in their roles as party guests, intermittently block him from the camera).

So, there's a bit of a twist, which although not plot - shuddering does leave you questioning a bit about some earlier scenes.

The opening scene at a drive - in is so brutal, so senseless, it creates an undercurrent of tension and dread that never leaves the film.

I really wish this scene was left in the film, it's so eerie and gives a real sense of fear.

In one scene, she chastises Lady Bird for leaving her school uniform on the floor and then proceeds to explain exactly what financial and societal concerns have led her to stress this request so strongly.

There are so many set pieces that seem like they might be the final one that when the movie finally does end, it almost feels like you're being faked out, and there'll be one more scene left to wrap things up.

The thematic through line isn't as sturdy (It's a vague exploration of corruption and acting on the edge of society, with a lot of scenes taking place on a cliff - side road), so we're left focusing on the individual worthiness of each story.

At first I assumed that this was going to be one of Clooney's films in which he pushes his moral and political views to the fore (think Good Night, and Good Luck, Michael Clayton or Up in the Air) and whilst Governor Morris» policies are clearly left wing wet dreams, the film's portrayal of what goes on behind the scenes is so negative that it practically negates all the good work Morris hopes to do when in office.

There is so much left barely unsaid in many of their scenes together (and those with Nivola), so much dancing just below the formal surface, that the movie plays as a veritable clinic in generating on - screen tension.»

It is almost as if the man who made a tv show about nothing but incessant talking wanted to make a bee movie with the same premise, but test screenings left the audience so despairing that scenes featuring Barry trying to stay alive within the machinery of a car or negotiating the impossibly complicated honey factory equipment had to be inserted to keep the children docile.

Hill is a lot more annoying in this installment, especially when left to fend for himself, but Tatum is so damn funny as the loveable, dim - witted jock (like a big puppy dog that just wants to play catch all day long) that he makes every scene more enjoyable.

Though this is Aniston's movie, Adriana Barraza, so wonderful as Amelia in Alejandro Gonzaléz Iñárritu's «Babel,» in my view the best film of 2006, knocks out the movie's most comic scene as a woman who, like others in her boss's life, wonders why she didn't leave her rich employer months earlier.

Grain mars many a nighttime scene and there are a few noticeable scratches here and again; I don't want it so bright as to destroy the air of Jacques Tourneur island mustiness, but I wish I could leave a light on while watching it.

So as the film crashes from one scene to another, we're left trying to hold onto some semblence of structure and even the characters give us little to grasp onto.

So when it came time to shoot one of several dramatic scenes in their new movie, «This Is Where I Leave You,» they felt far from sure - footed.