Sentences with phrase «bit more screen time»

, and some secondary characters that need a bit more screen time to cultivate, but the body of work is brilliant, especially in the villain.

Martin Sheen gets a bit more screen time to provide some historical perspective, but still: Why these people of all the celebrities in all the world?

I just feel that with just a bit more screen time (only needed an extra 15 to 20 minutes that this film could have been so much better.

This means less crazy mornings of me yelling at the kids to put on their shoes or to eat their breakfast faster, it means a tiny bit more screen time in the afternoons but lots and lots of playing outside, eating popsicles and swimming at the pool.

Not exact matches

Starbucks began testing this technology two years ago in its home state of Washington, and a spokesperson told the Huffington Post at that time, «There's just a little bit more personal interaction in the drive - thru experience when you have the video screen.»

Watch him do something ludicrous on screen and it's only a few seconds until the television shows it to you again, first a bit slower, then again from behind the goal, then one more time from overhead.

The tour keeps your attention with a line up of incredibly attractive woman who reward your every selection with a little bit more skin, by the time you get to the screen asking you your location you've forgotten that you were signing up for a dating site instead of participating some light foreplay.

This one, however, cost quite a bit more: Mr. Affleck and Ms. Lopez's combined fees reportedly ran close to $ 25 million, and they earn their money by hogging as much screen time as possible and uttering some of the lamest dialogue ever committed to film.

Following that whenever there are more than two characters on screen at one time, the game bogs down quite a bit as well.

Exclusive to the Blu - ray are a horrendously slow and unfunny alternate opening sequence and closing sequence, a 12 - minute behind the scenes featurette that essentially has the cast talk about how funny and great each other is and a short bit that gives a little more screen time to Beth's eccentric suitors.

More screen time for its impactful minor characters (I would watch an entire film just about Tilda Swinton's warring twin journalists), more connective tissue, perhaps a tad more plot to tie everything together with a bit stronger strMore screen time for its impactful minor characters (I would watch an entire film just about Tilda Swinton's warring twin journalists), more connective tissue, perhaps a tad more plot to tie everything together with a bit stronger strmore connective tissue, perhaps a tad more plot to tie everything together with a bit stronger strmore plot to tie everything together with a bit stronger string.

In addition to Ms. Lawrence and Mr. Sutherland, returning to the fold are Josh Hutcherson as Peeta (still lacking even an ounce of screen presence), Woody Harrelson as Haymitch (giving a bit more effort this time around), Lenny Kravitz as Cinna, Paula Malcomson as Katniss» mother (seen recently as Abby in «Ray Donovan «-RRB-, Willow Shields as Prim, Liam Hemsworth as Gale (his most exciting scene is washing his hands), and of course the instant electricity and energy provided by Elizabeth Banks as Effie and Stanley Tucci as Caesar — two of the most colorful characters this side of 1970's era Elton John.

That was a low point, but now, every time I drive a Jaguar without experiencing a check engine light, a frozen touch screen, or a grenaded differential, I like the car a little bit more.

Panasonic has announced a new addition to its Toughpad line of rugged and beefy tablets, this time opting for a 7 - inch screen and Windows 8.1 Pro 64 - bit as the operating system.The Panasonic Toughpad FZ - M1 runs on a fouth - generation Intel Core i5 vPro... Read more

We think this is about the right sort of size for a tablet, not as clunky as a 10 - or - more - inch model, but a bit more screen real estate than a 7 - inch tablet.From our, so far, limited time with the G Pad - a...

A recent study adds to a growing body of literature that should put to rest, once and for all, the false notion that dogs in shelters are in shelters because there is something wrong with them: «Nothing in the prevalence estimates we reviewed suggest that overall, dogs who come to spend time in a shelter (and are not screened out based on history or behavior at intake or shortly thereafter) are dramatically more or less inclined toward problematic warning or biting behavior than are pet dogs in general.»

The saving grace could have been Xandra who provides a bit more levity to contrast Avil's dryness, but she gets little screen - time and they've never properly together, rather she's just a voice in his ear.

I will say that I was disappointed to see a number of characters who were a bit underused or could have used more screen time.

The play - calling screen could have been designed a bit differently, as it's too easy to call the wrong play and be forced to call a time out in order to change it, but that's more of a nitpick than a serious complaint.

- the game's shading mechanism has changed, which allows for increased gear texture quality - all graphical aspects and programming mechanisms have been built up from scratch for this sequel - maximum resolution is 1080p in TV mode - a bigger focus for Nintendo was the 60 frames per second - occasionally the resolution will be scaled down when there is too much ink displaying on the screen - Nintendo reduced the CPU load and refined the way to use CPU power effectively to maintain 60 fps in all matches - weapons were tweaked to let players be more creative by thinking about unique weapon characteristics and their best uses - weapons are designed to be effective when they are used during the right occasion - Special weapons are stronger than the original ones when used in the right situation, but weaker otherwise - the damage and effect of slowing down your movement when you step in the opponent's ink are reduced from original - you can jump up in rank if you're good enough, but only up until S - you can't jump up from C, B or A to S + - when you win battles in Ranked mode, the Ranked meter fills and your rank goes up when its fully filled - when you lose a battle, the gauge does not decrease, but the meter starts to crack - once the meter reaches its limit, it breaks - when the meter breaks, you have to start over again from the beginning or from a lower rank - highest rank is still S +, but if you fill up the Ranked meter, you get numbers after the alphabet such as «S +1», «S +2» and so on - maximum number is «S +50», but this number will not be displayed to your opponent - you are the only one to see it, and you can check it on your own status screen - Ranked Power is calculated by an algorithm to measure how strong each player is with minuteness - this will determine if a player's rank is worthy of receiving a big jump (like from «C» to «A»)- Ranked Power has no relation to your splat rate, and is more tied into to how well you lead your team to victory - you won't drop off more than one rank even if you play poorly - stage rotation time was changed to two hours - this was done because the devs expected people to play for an hour or so, but they found people play much longer - with Salmon Run, Nintendo considered how to implement a co-op oriented mode in a player - versus - player type of game - the devs will monitor how users are playing this mode to see if there's some tweaks they can throw in - more Salmon Run maps will be added in the future, but Nintendo wouldn't comment on adding more enemy types to the mode - rewards are changed each time Salmon Run is played - you can obtain rewards when playing locally, but not gear - originally Nintendo had an idea for this mode, but had no background setting, enemy designs, etc. - Inoue suggested that it should be salmon - themed - when Nintendo hosted the Splatfest that pit Callie against Marie, the development of Splatoon 2 had started - the devs had already decided to have the result reflected in the sequel - they even had an idea to announce the Splatfest with a phrase «Your choice will change the next Splatoon» - the timing to announce a sequel wasn't right, so they decided against this - they eventually released a series of short stories about the Squid Sisters to show how the Splatfest affected the sequel's story - Nintendo wouldn't say if Marina is an Octoling, and noted that Inklings are not paying attention to this too much - Inklings don't care about appearances, as long as everyone is doing something fresh - the Squid Sisters had composers who produced their songs, but Off the Hook are composing their music by themselves - Pearl is genius artist, but she couldn't find a right partner because she's a bit too edgy - she eventually found Marina as a partner though, and their chemistry is sparkling right now - Nintendo is planning a year of content updates for Splatoon 2 - when finished, the quantity of stages will be more than the original - some of the additional stages are totally new and some will be arranged stages from the first game - not all original stages will return and they are choosing stages based on the potential for them to be improved - Brella is shotgun-esque weapon, so the ink hits your opponent more if you are closer - it can shield damage when you open it, but the amount of damage has a limit and once it reaches it, it breaks - you can shoot ink, but you can't use the shield feature when it breaks - the shield won't prevent your allies ink - there are more new weapon categories which haven't been revealed yet - there are no other ranked modes outside of the three current options - the future holds any sort of possibility, but the devs didn't get specific about adding more content like that - for the modes, they adjusted the rule designs so that players will experience the more interesting aspects

Playing through the story solo can be a bit of a grind and, at times, overwhelming with everything happening on screen — but it has an addicting quality to it, that sort of «I was so close» - ness to it that drives you to play more.

Alex: At the moment, Dofus fans will be able to rediscover the world with Dofus with the new touch screen experience, but for those long time players that are looking for a bit more, we have recently announced that Dofus for PC and Mac will be coming to Steam in November which is a first for us and will include all the great features that Steam users have come to know and love.

It's a novel control scheme and interesting to add a bit of interaction with the game more so then ever before, but it feels a little erratic in control at times, especially when dealing with fast moving enemies or an abundance on screen.

I'm really hoping I can spend some more quality time in Mass Effect 3, but even if I can't, I know I'll be tapping the screen every few hours in Mass Effect 3 Datapad for iOS, just to mindlessly up my «galactic readiness» a little bit.

Even players who join matches in progress as backfill will be rewarded with double XP for their efforts, meaning that those frustrating «defeat» screens as soon as you join a game will, for a short time, be a little bit more bearable.

2006 The Downtown Show, The New York Art Scene 1974 - 1984, New York University Grey Art Gallery, New York, US Onestar Shop by Hans Schabus, Art Metropole, Toronto, CA Public Space / Two Audiences, Works and Documents from the Herbert Collection, Museu d'Art Contemporani de Barcelona, ES Draft Deceit, Kunstnernes Hus, NO Location Shots, Galerie Erna Hecey, Brussels, BE Pierre Huyghe: Celebration Park, Musée d'Art Moderne de la Ville de Paris / ARC, FR Cerealart, Cerealart Lounge Pier 90, The Armory Show, New York, US Artists for Chinati, Phillips de Pury & Company, New York, US The Early Show: Video from 1969 - 1979, curated by Constance De Jong, The Bertha and Karl Leubsdorf Art Gallery at Hunter College, New York, US Onestar Press, The First Five Years, The Engholm Engelhorn Gallerie, Vienna, AT Message Personnel, Yvon Lambert, Paris, FR Not Quite Ten Years Without Martin Kippenberger, a project by Chris Hamond, Bar MOT for Kippenberger (MOT), London, UK That Was Then This Is Now, De Appel, Amsterdam, NL Czesław Miłosz / To Allen Ginsberg, Dvir Gallery, Tel - Aviv, IL Mental Image - Wortwerke und Textbilder, Kunstverein St. Gallen Kunstmuseum, CH Conceptual Comics, curated by AA Bronson, Max Schumann, Walter Phillips Gallery at the Banff Centre for the Arts, Banff Alberta, CA Libri Books Bücher, Museo D'Arte Contemporanea, Rivoli (Torino), IT The Shape of Sound, Radio Arte Mobile, Sound Art Museum, Rome, IT Wall Works - Sol LeWitt, C.A. Swintak, Lawrence Weiner, Art Gallery of Ontario, Toronto, Ontario, CA I: An Exhibition in Three Acts, Futura Gallery, Prague, CZ I Will Not Make Any More Boring Art, Lithographs, Publications and Ephemera from The Nova Scotia College of Art & Design, Printed Matter, Inc., New York, US On the Ball, Galerie Anselm Dreher, Berlin, DE Group Exhibition, curated by Peter Kogler, Galerie Mezzanin, Vienna, AT The Title As The Curator's Art Piece, A Summer Show by Mathieu Copeland (spoken word exhibition), Blow de la Barra, London, UK Into Me / Out Of Me, curated Klaus Bisenbach, P.S. 1 Contemporary Art Center, Long Island City, New York, US; KW Institute for Contemporary Art, Berlin, DE A Bit Of Matter And A Little Bit More, screening Turtle, curated by Michael Shamberg, Chelsea Space, London, UK Moving On: Motion, Galerie Thomas Schulte, Berlin, DE The Known and the Unknown, Gallerie Nicolai Wallner, Copenhagen, DK As If By Magic, Bethlehem Peace Center, West Bank & Art School Palestine, Palestine, IL The Materialization of Sensibility: Art & Alchemy, Leslie Tonkonow Gallery, New York, US The Urban Forest Project, Times Square Information Station, Times Square, New York, US Word, curated by L. Brandon Krall, Deborah Colton Gallery, New York, US Printemps de Septembre, Toulouse, curated by Jean - Marc Bustamante, City of Toulouse, FR Contraband, curated by Carolina Grau, Galeria Luisa Strina, São Paulo, BR São Paulo Bienale, Escola São Paulo, São Paulo, BR Busy Going Crazy, collection Sylvio Perlstein, La Maison Rouge, Paris, FR The RxArt Ball, New York, US The Title As The Curator's Art Piece (spoken word exhibition) curated by Matthieu Copeland, Blow de la Barra, London, UK Concrete Language, Contemporary Art Gallery, Vancouver, CA Project 2023 - Arteast Collection 2000 +23, Moderna Galerija Ljubljana, SL Break Even, Andrew Roth Gallery, New York, US Open, CCS Bard Hessel Museum, Annandale - on - Hudson, New York, US Wrestle, CCS Bard Hessel Museum, Annadale - on - Hudson, New York, US Ideal City - Invisible Cities, curated by Sabrina von der Ley & Markus Richter, Europe Projects, Zamość, PL Into A Journey, Meyer Riegger, Karlsruhe, DE Magritte and Contemporary Art: The Treachery Of Images, designed by John Baldessari, LACMA, Los Angeles, California, US Art Metropole: The Top 100, National Gallery of Canada, Ottawa, CA Poster, Paula Cooper Gallery, New York, US Pandora's Reisen, Brigitte March Galerie, Stuttgart, DE Dedica - 20 Anni Della Galleria Alfonso Artiaco, curated by Julia Draganovic, Palazzo delle Arti Napoli, Naples, IT Good Riddance, curated by Claire Davies & Sam Gathercole, MOT, London, UK Art in America: 300 Years of Innovation, curated by Susan Davidson, National Art Museum of China (NAMOC), Beijing, CN Not For Sale, curated by Alanna Heiss, P.S. 1 Contemporary Art Center, New York, US Il Faut Rendre À Cézanne, The Collection Lambert, Avignon, FR

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

However, I know that we're probably outliers when it comes to kids and media, and that many children have quite a bit more access to not only a TV or DVD player, but a computer, tablet, or smartphone as well, and that the amount of screen time that the average American kid gets is huge - 5 to 7 hours per day - much of it unsupervised.

When actually using the phone, for the most part you'll see a bit more content on the screen at any one time.

In total, I got just over eight hours of screen - on time, including leaving the phone off the charger overnight and using it a bit more in the morning.

That phone managed to get a bit more screen on time, but really not a major difference, even in sizes, with the S7 edge at 3500 mAh, and the Pixel XL at 3450.

We'd have liked a bit more contrast and text can look a bit too small for our aging eyes at times, but it's a more - than decent gaming window — far better than the screen on the Wii U GamePad.

Ultimately, we'll also need to spend a little bit more time with the Pixel 2 XL to really figure out how its screen compares to its fellow competitors.

I charge my phone every night and after moderate daily usage (2 to 3 hrs screen - on time) and 13 hrs since the last full charge, I go to bed with about 25 % to 30 % battery left (sometimes a tiny bit more), which is pretty consistent in my experience.

Heavier days on the go naturally drain the battery a bit more, but with up to 3.5 hours of screen time, I still f0und myself ending the day with around 15 - 20 % battery.

Resumés have changed quite a bit in the past few years, as screening processes are automated and hiring staff is more pressed for time.

Each time I try to break out of my comfort zone (which is basically to hide behind my computer screen), I learn a little bit more about myself.