Sentences with phrase «acting gives those scenes»

The acting gives those scenes potency, and veteran director Roland Joffé (The Killing Fields) whips up a political thriller / prison flick / award - baiting melodrama gumbo around them.

Not exact matches

[The book of Acts and the Epistles] would then form the first scene of the fifth act, giving hints as well (Rom 8; 1 Cor 15, parts of the Apocalypse) of how the play is supposed to end.

With respect to exterior displays, the presumption is reversed: «Given the festive nature of such displays in relation to the end of the year celebrations, Nativity scenes can lawfully be displayed, unless they constitute an act of proselytism or the expression of a religious opinion.»

In another scene, the novel scolds men for resisting this liberated view of sex, as Langdon reminisces about a lecture he'd recently given to undergraduates: «The next time you find yourself with a woman, look in your heart and see if you can approach sex as a mystical, spiritual act.

So unless he was lying publicly to help cover failings behind the scenes (seems unlikely to me) then I don't see your inertial argument as persuasive given the recent influx of PL TV money and the addition of CL money too as outside forces acting upon FSG's past behaviorial pattern.

Dolls and figures give your toddler a way to act out the scenes he or she sees in everyday life.

In another development, the Invisible Forces of Nana Akuffo Addo nearly lynched on Aboagye a loyalist of Alan Kyeremanteng at the funeral grounds.Aboagye's crime is that he has been offered a contract by the new administration.The Invisible Forces acting upon the orders of one of Nana's henchmen who attended the funeral, pounced on Aboagye and gave him some slaps but was saved by the security operatives of Former President Kufour who rushed to the scene to intervene and whisked him away.

We've got her to give us the lowdown on the day to to night when you're the hottest new up and coming act on the scene.

The film's two major scenes of military conflict — the battle of Gaugamela, where Alexander's force of 40,000 bested the Persian King Dariussd III's 250,000 - strong army, and a third - act forest routing in India — are given short shrift and photographed in that jittery «you are there» un-StediCam-style that renders the action impenetrable.

John Lithgow is excellent... it's a tribute to both his acting and the writing (as sharp and tight as ever) that many of his scenes have only three or four lines of dialogue, but resonate deeply and give you the creeps (especially a scene where Lithgow picks a fight behind a bar).

Mikkelsen and Vikander are given the opportunity to build more rounded, fuller representations of their characters off of the page which pays off big time in that final act, but Folsgaard's performance is practically one money scene after the next.

Broken Age tries to end on a heartwarming final scene, but its an ending that it doesn't feel like the game earned, with Act 2's stagnant characters never maturing or developing in any way that would give the scene the emotional weight it seems to think it evokes.

It's certainly unique to hear Angelina Jolie sharing a scene with Seth Rogen, or Jackie Chan acting opposite David Cross, and it would be easy for the film to coast on its marquee names, but first - time director Jennifer Yuh effortlessly pulls off a tricky ensemble juggling act that gives everyone a slice of the spotlight.

If I had any pull in Hollywood, Goldblum would be given a dump truck full of Oscars for his work in this movie, acting so self - consciously odd and undeniably hilarious that any scene he's not in is irritating to watch.

One Mississippi is the most subtle version of that new post-Louie comedy we've been given so far, in that Tig rarely goes for deliberate jokes, and instead lets her dry sense of humor act as a kind of shield against the pervasive sense of melancholy that permeates almost every scene of this show; it's a fascinating choice.

In the same way he neither spares nor indulges anything in the acting or the story, Haneke never falters in giving us exactly what is necessary, no more and no less, in his pacing and blocking of scenes, in his framings and cuts (made with unflagging economy and exactitude via his habitual editing team of Nadine Muse and Monika Willi).

Viewers get to see mortician's wax fashioned into a special effect, while one of the filmmakers also gives some amusing tips to DIY - inclined colleagues, saying basically for any classroom scenes, just show up at a state university late on a Friday afternoon and act like you're supposed to be there and you know what you're doing.

Sure, Massee's acting opposite Pitt, but the editing lets him have his scene, it doesn't give it to Pitt.

Given real struggles to convey, Quaid delivers some of his finest acting in the movie's closing scenes, his furrowed brow pointing to a pair of focused eyes that say a lot more than the script's rampant issue - based dialogue.

A lot rides on the performances given by actors in Aaron Sorkin - written movies, as they must be able to act out large monologues and fast - paced dialogue scenes.

If nothing else, the alternate version gives Kaluuya and Howery one more good scene to play together, a moment when the comic register in which most of their friendship has played out gives way to a beautifully acted quiet moment of shared pain (and a check - in that Sid, Chris» beloved dog, is doing OK).

I absolutely loved the extreme amount of tension built into each and every scene and the acting by the talented cast gives you an idea of what it must have been like to deal in booze during that tumultuous period.

Most of the time Jean - Baptiste's acting seems constrained by the fact that the plot requires Hortense to reveal only limited portions of herself, but fortunately Leigh gives her one early scene with a friend in more familiar surroundings that allows her to open up.

It is scenes like these that give The Tale of the Princess Kaguya its everflowing momentum, even as it flirts with a bout of disinterest in its elongated second act.

The opening scene, in which Tommy and Greg (played by James Franco's brother, Dave) meet in acting class, does a really good job of making us understand, in such a short amount of time, why Greg would be drawn to a dude like Tommy in the first place: He's failing to connect with his own work, and then sees this wild, off - his - rocker older guy give an indescribable, balls - to - the - wall interpretation of Brando in Streetcar that makes zero sense.

His character comes to fruition in the second act and apart from being present during pivotal battle scenes, his character is not given enough time to establish, and so comes off rather bland and underwhelming.

And he's quietly had a strong 2012, standing out in «The Grey» even among a cast with several contenders for this list (Dallas Roberts, James Badge Dale), stealing scenes in «Lay the Favorite,» impressing in the otherwise skippable «Disconnect» and, giving something of a masterclass in one scene of «End of Watch» (his drunken melancholy at the wedding is one of the best bits of acting we've seen all year).

One scene where her father tries to give her an aid to help her hearing, a vain hope that she can no longer put up with, is outstandingly powerful, as both Krasinski and Simmonds act their socks out without a single word.

Teenaged Holland gives the film some of its strongest acting, carrying many scenes believably.

Boasting the strong supporting character - acting cast of Marin Ireland, Kelly Lynch, John Douglas Thompson, Brendan Sexton III, Michael Chernus and David Johansen from the New York Dolls, plaudits must also be given to Cuban - American actor Yul Vazquez, another scene - stealer who hilariously shines as one J.J.'s chatty thugs that Bud is force to work with.

We'd be foolish not to give some sort of shout out to other terrific scenes throughout the year, like the hilarious funeral sequence in Li» l Quinquin, which had us doubled over from laughter; both the border crossing and night vision sequences in Sicario; the ending of Carol, which should get an emotional response out of even the coldest souls; the opening long take in Buzzard, a painfully funny experience much like Entertainment; the bonkers final act of Jauja; a scorching scene from The Fool where the town mayor lays into her corrupt staff; everything that happens at Mamie Claire's house in Mistress America; the intense argument between Gerard Depardieu and Jacqueline Bissett in Welcome to New York; the tightrope sequence in The Walk, and much, much more.

The film focuses on a specific point in Kelly's career, «Grace Kelly, age 33 and having given up her acting career to focus on being a full time princess, uses her political maneuvering behind the scenes to save Monaco while French Leader Charles de Gaulle and Monaco's Prince Rainier III are at odds over the principality's standing as a tax haven.»

-- although it should be said that Tom Wilkinson gives him some competition in the scenery chewing), some creaky lines, uneven, misjudged humor (including Gary Oldman acting like Jake Lloyd in «The Phantom Menace «-RRB- and some slightly cheap and ill - conceived hallucination scenes (Batman the monster and the Scarecrow's fire - breathing horse are nice ideas but let down in the execution).

A speech that Cranston's stray Chief gives about literally biting the hand that fed him when he muffed a chance at a good home is among the most perfectly written, staged and played scenes in recent cinema — it would be a surefire Oscar clip if awards had categories that could encompass achievements in this byway of cinema, where great acting is as much down to the hands of animators as the dialogue delivery.

«Metamorphosis: The Transformation of Wikus» (9:52, HD) includes interviews with Blomkamp, Copley, and prosthetics makeup supervisor Sarah Rubano, while «Innovation: The Acting and Improvisation of District 9» (12:05, HD) gives an intriguing look at how individual scenes were created, with Blomkamp, Tatchell, Copley, casting director Denton Douglas, Cope, Gaduka, and James.

How about we go over some of the most iconic acting scenes and you can give your thoughts.

He has literally two proper scenes; the first is to justify demoting Cruise's character and sending him into battle in order to cover his own ass (somehow) and thus set the story in motion, and the second is to give Blunt and Cruise the MacGuffin when they finally decide that they've been faffing about for long enough and should probably get act three started.

The only thing I can give away about her act in good conscious is that I will never hear the song «Super Freak» again without thinking of that scene and giggling.

But he's just having fun, acting across from idols and giving himself two love interests, one of those (Beau Garrett) purely for a random gratuitous non-nude sex scene.

The period setting is sketched in broad strokes (fittingly, the only real - life filmmaker name - checked here is Norman Taurog, director of Elvis vehicles and Dean Martin and Jerry Lewis movies), giving the Coens a chance to play with dated and outmoded film techniques: wipes, bird's - eye - view matte paintings, painted backdrops, unconvincing model submarines, and, in the movie's most perverse act of homage, a very long driving scene of questionable urgency.

The film, directed by Thomas Bezucha, gave Selena a chance to explore her acting range especially in scenes requiring her to perform opposite herself.

Given that films are text types in their own right, directors can often be seen as adding or discarding scenes and lines or incorporating their own devices into their films, such as Zeffirelli's use of music in his 1968 version of Romeo and Juliet or Brannagh's use of black and white as symbolism in his 1995 version of Othello (such as with Othello's mask in the beginning, and the chess pieces during Iago's soliloquy at the end of Act 1, Scene 3).

Darryl also gave us a good reminder when it comes to the scene of an accident if it is wet and sticky and not yours don't touch it There are so many important things to remember when administering first aid the most important is to keep calm, act quickly, safely and gain as much information about the patient as possible until you transfer them over to a more qualified person.

Z.H.P. doesn't feature full voice acting, instead opting to give voice to the story scenes and occasional sound bites in the dungeon.

«Cristina de Miguel may have trained at a classically inclined art academy in Seville, Spain, but you'd be hard pressed to recognize that given the exuberant, large - scale paintings in «Absolutely Yours,» the artist's debut solo show with Freight + Volume in New York... [with] scenes that respond either to moments the artist has witnessed in New York, or to the act of painting itself.»

Of course, in classical painting, the artists are also often closely observing a scene in front of them, but with observational painting, the act of looking is given primacy.

The act of painting functions as a means of introducing a layer of time to a given moment, it focuses the gaze and lends the objects and scenes an intensity that would be missing if the image was to remain as a photographic snapshot.

Typically, the interviewer will give two or more people in the group a scene to act out, which is often related to workplace expectations.