Sentences with phrase «between scenes like»

In our brief testing, we found that the app was able to switch pretty quickly between scenes like portraits and food.

Sound bleeds between scenes like smoke wafting between rooms — a haze of creativity.

Not exact matches

«They put him in the back in the scene between Adam and I and when the trailer first came out I got a little picture where he had kind of circled this blur in the back and he's like, «That's me!»»

It was like that scene in Mars Attacks, the part between the Martian ambassador's warm greeting and the peace dove getting disintegrated in mid-air with his ray gun.

I remember watching WWF (before it was WWE) as a kid, Roddy Piper, Hitman Hart etc and you'd get the camera going backstage into a soap opera like drama, arguments between fighters, The Million Dollar Man stole an ambulance after a fight in a staged kidnap scene etc..................................

«You have no idea of the extent of the behind - the - scenes bonding that has gone on between Nick and Cameron, as well as Nick and other Tories like Osborne,» says a well - connected Lib Dem frontbencher.

VC: Well, there is a constant battle going on behind the scenes, which often... Sometimes between us and the Conservatives, sometimes... I've been involved in a big battle over immigration caps and I have won that argument and that was mainly with the Conservative colleagues, but I had some allies like Oliver Letwin.

Enjoy several ways to get the perfect shots, including the ability to switch your phone between standard and vertical shooting and unlimited low angle shooting for pictures that let you experience a scene like never before.

Between what goes on behind the scenes to create my blog photography and the steps I'm taking in my career - I'd like to share what I've learnt from my achievements, as well as my «Homer - DOH!»

We went behind the scenes with each of them, to find out what it's like to work in wine — from siphoning the wine from the barrels to finding the perfect wine and food pairing, and everything in between.

Instead of walking through a haunted house, you're treated to a 25 minute hayride through various spooky scenes like «purgatory», «House of the Horsemen», «Seven Sins Sideshow», and «In Between Dark Maze.»

It's the first matchmaking app to hook deeply into our culture: creating a flirt scene between athletes at the Olympics, importing randiness to Coachella (traffic on Tinder spikes during big festivals) and spawning knockoffs like a Jewish dating app (JSwipe) and the parody video «Kinder» for kids» play dates.

Arty visuals of things like the sunset or scenes of nature may set a mood or serve as breathing space between the heavy dramatic sequences but they do get in the way and distract.

Lister - Jones is also generous enough an auteur to allow for memorable moments from others, whether it's hilarious bits from the likes of Retta (as Anna and Ben's unlucky marriage counselor), Brooklyn Decker, and Jamie Chung; the escalating weirdness of Armisen (who was, of course, a seasoned indie - band drummer before he turned to acting and comedy); or a knockout dramatic scene between Pally and the great comedian Susie Essman as Ben's mother, who provides some invaluable advice.

The film doesn't use sound anything like as effectively as Leone, but the fight scenes feel brutal and realistic, particularly in the final showdown (s) between Carver and Gideon.

Still, the film never quite nails down an overall tone, building to two powerful scenes closing out the second act and warming up the third: one between Gerry and his ex-wife (Robin Weigert, looking nothing like «Deadwood's» Calamity Jane) heartbreaking and tense, the other at a sparsely attended horse track with Gerry and Curtis seemingly all but solidifying their own sad fates.

Arizona Dream is much like a dream as it jumps from scene to scene and we don't know what happened in between.

Some of the banter between Ruth and the jaded cop named Det. William Bendix (Gary Anthony Williams, TMNT: Out of the Shadows — yes, William Bendix, like the classic film actor) on the case offer some insights on where the film could have found its comedic spark, but even those scenes lose flavor when we see that cop break down in anguish because of his own personal relationship issues bubbling up to the surface.

You like scenes when a superhero has to choose between killing a villain and letting him live?

As the movie plods on, the jokes start to fall flat... Worst of all is a centerpiece scene, when Ben has to pretend to be a mafioso (but sounds more like a cross between Martin and Lewis), when Crystal is so unfunny that you almost feel sorry for him.

Scenes like a fight between the old predators and the new ones are strictly unnecessary fan service and are only really worthy of Rodriguez.

MacFarlane gets an impressive amount of comic mileage from having a plush toy talk like a Boston low - life, though for gut laughs nothing compares to the brutal, frantic, and completely wordless fight scene between Wahlberg and his little buddy in a cheap hotel room.

Buoyed by a winning cast, The Overnight unfolds a bit like a really, really long and drawn - out and kooky foreplay session, with the sexual tension between all parties rising nicely notch by notch with each passing scene.

Though obvious from start to finish - it's little more than a Public Service Announcement - there are a few moments in this that are thought - provoking: how these starlets balance their «jobs» and personal relationships (Silguero's boyfriend is clearly bothered by her sleeping with so many other people), how they regard each other (none of them likes Belle Knox, the famous Duke student who turned to porn) and especially how they view the difference between «on - screen performing» and «real - life romance» (I found the scene of the one girl awkwardly trying to get a male waiter's number to be completely adorable).

Like «The Quick and the Dead,» Desperado wavers uneasily between myth making and parody, so that too many scenes drag on long after they've lost their punch.

Moving between these three women is the maid, who tends the dying woman in her agony and, in one stunning scene, holding her to her naked bosom like a mother holding a child.

From the moment we're introduced to the war between the Assassins and Templars, the film never lets up, and scene bleeds into scene, much like a Christopher Nolan film, before the film just abruptly ends, and you realise you never got a chance to catch your breath.

The relationship of violent subjection between Jasna and the boys she so desperately tries to woo is so revolting (the last scene is a simultaneous sucker punch on screen and on the viewer) because it feels like home.

Between the heavy voiceover narration, the multiple literary lectures (Scott Speedman turns up as the teacher who provides the allusions), and the stilted scenes of Bolger and her friends hanging out, the film plays like TV - movie gothic, plodding along to the expected revelations and bloodlettings.

The battle scenes between the military's exosuit army and the mimic aliens are the absolute highlights of the film, delivering what feels like a technologically upgraded battle from World War II.

Its baseball scenes almost tertiary to the friendship between a pitcher and his catcher (and the catcher and his hooker girlfriend), the picture feels a little like Of Mice and Men (complete with Steinbeck's low American primitivism) in the doomed relationship between a blue - collar man and his retarded friend.

Condon also likes to punctuate scenes with shortcut symbolism by having characters wear t - shirts with various icons or having walls painted with various iconic figures in history (Che Guevara, Albert Einstein) as a way to draw parallels between Assange's story and the fight for information throughout history.

There's a strange disconnect between the scenes of Jackie awkwardly performing comedy routines, which play like De Niro gamely reading material on «Saturday Night Live,» and the more authentic moments of Jackie going about his life as a seventysomething man who still has a lot left to prove.

She moves easily between reality and fantasy, nails the scene where Hush Puppy finally meets her mother, handles the crying scenes like a pro, and has the ability to read the beautiful lines of dialogue by Luci Alibar and Zeitlin with the kind of feeling and maturity of a much older actress.

And while there's a nicely tentative quality to the scenes between Bob and Erik (whose wounded ambition is perfect for the handsomely bland Hartnett), the movie hits another level when it's behind the closed boardrooms of editors and publishers, and where characters like Alan Alda's managing editor can be observed manipulating people like a man calmly poking snakes in a box.

The movie is comprised mainly of scenes between Mike and Chris talking in the prison visitation room, and in that regard, it feels a lot like a stage play, although not quite as contained.

No more than ten minutes later there was a scene lasting five whole minutes (it felt like hours) wherein the walking fat joke of a character (who nevertheless becomes a full - fledged lifeguard because he has «determination») gets his erect penis and testicles stuck in between the panels of a wooden beach chair and a hot female lifeguard and Dwayne Johnson proceed to try and coach him through the situation while a beach worth of spectators look on and take video with their phones.

Other additions within «Ultimate Edition» are minor, like an extra phone call between Martha Kent and her super son Clark, or a few more scenes with Laurence Fishburne's Perry White complaining about reporter Clark being distracted with investigating Gotham's obvious crime problem.

Among the supporting players, the movies sees fine performances from the likes of Diane Lane as Rusty's sometimes girlfriend, the then - little - known likes of Nicolas Cage (Coppola's nephew and the son of August), Chris Penn and Vincent Spano as members of Rusty's gang, Laurence Fishburne as a local go - between and Sofia Coppola, billed as Domino, who is funny and charming in a few brief scenes as Lane's bratty younger sister.

«There are no dramatic new features,» admitted, Ebihara, «but there's a reliable sort of fun here, like there always is, between the new action scenes and the charming story.

The scene plays out less like a depiction of the justice system at work than as a messy encounter between lawless figures with no sense of a constructive solution.

Between O'Kane and Murray's combined work, grisly scenes like Natalie cutting off her own infected arm with an electric kitchen knife becomes so ridiculously cringe - worthy in the best possible way.

The idea behind the scene is funny, because what can we expect from a movie like Cop Out, which quickly establishes a nine - year partnership between two cops played by a straight - up straight man like Willis and an absurdist, stream - of - consciousness comedian like Morgan, except the formulas and clichés to which we've become accustomed?

Opening with a fight scene, followed by the interaction between the brothers, then the incident that puts Gosling in the shit is crammed into what felt like about 7 minutes.

A new scene from Avengers: Infinity War finally offers a glimpse of what the dynamic will be like between Shuri and the MCU's Science Bros..

Left largely undiscussed here is the fact that the film is based on a series of graphic novels and, thus, employs panel - like transitions between scenes as well.

Most damagingly, the complex relationship between Hawn and Kurt Russell — who plays a pre-beatnik trumpet player — is reduced to clichéd notions of fate, complete with chaste, sitcom - like love scenes and breathy «the war, woe is us» voiceovers.

For me, Beverly Hills Cop was, like its contemporary Ghostbusters, the ne plus ultra of comedy — my eleven - year - old self still a couple of years away from Monty Python — and the requisite throwaway scene in a strip club was enough to be the centrefold in this analog PLAYBOY that, huzzah, I didn't have to hide between the mattress and bedspring.

That means, however, that some characters, like Steve Rodgers and Black Widow, receive little screentime between fight scenes, while others, like Thor, the Stark - Parker - Strange trio, and, of course, Thanos, seem to spend more time onscreen than off.

The stranger and more corrosive subtexts it locates in the Kennedy circle's actions in the aftermath of the crash are undermined by its classy restraint, which saps the most conceptually outrageous moments — like a scene that cuts between Kopechne's dying breaths and Ted Kennedy bathing at his hotel after the accident — of any sense of shock.