Sentences with phrase «by in a few scenes»

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No RL, what I'm getting at is everyone is a cell, or a fish, or a monkey for billions of years... then for a few more million, man suddenly comes on the scene... a billion more go by and walla... in the last 150 years, we have the industrial revolution, and then the 20th century high tech explosion.

To continue a bit with the end of that last idea: so if a group of people are on the scene of some event covered by the news, then obviously there would be great value in knowing some directly transferred assessment values from their brains, rather than what today we get as a summary from a few reporters plus maybe a few witnesses that still have to express what they saw.

(So that when you read a news story, for instance, you might also get a composite assessment value that was assigned directly from other readers without them ever having to express such assessment via speaking, writing, etc. if a group of people are on the scene of some event covered by the news, then obviously there would be great value in knowing some directly transferred assessment values from their brains, rather than what today we get as a summary from a few reporters plus maybe a few witnesses that still have to express what they saw.)

A few weeks ago I was approached by Jacob's Creek Wines who asked me if I would be interested in doing a «behind the scenes» photoshoot at Jacob's Creek Winery in the beautiful Barossa Valley and be a guest of Jacob's Creek for 3 nights.

Danny Rose and Kyle Walker were other Spurs players in attendance as revellers described the scenes in the club with a chorus of Happy Birthday being sung, along with Alli at one point being ushered off the stage by the DJ after he had a few words on the mic.

Nigerians who boasts of a vibrant social media scene, fuelled by a rapid increase in mobile phone usage criticized the Senate when the bill was introduced a few months ago.

By watching how reflections change over the course of a few months, it can figure out the orientation of all the surfaces in the scene.

There's one outlet in the train station, another in the nearby migration aid offices, a few power lines offered up by satellite news trucks on the scene.

Now as it turns out, I mean, again, you said no spoilers, so incredibly all these threads are, to Shakespeare's credit, everything works out okay a few scenes later and there's actually a happy ending, at least by the standards of — I mean it's actually lumped in with the tragedies.

In both cases, users select the part of a scene that is OK to share by drawing a rectangular border around it, either by hand or with a few clicks of a mouse.

My blog has been live for a couple of days now but there are still a few little tweaks going on behind the scenes (all the hideously awful jobs like checking and amending the formatting of 1300 posts which have gone a little skewwiff in the transfer — by far the worst bit so far).

Besides all the bling brought to us by celebs decked out in gold and silver, we were also treated to a lot of sparkle courtesy of some heavy embellishments along with eye - catching jewelry that almost upstaged a few gowns (not to mention a couple of scene - stealing hair accessories).

Hec's tow pet dogs, Zag ad Tupac (the latter named by Rocky) also steal quite a few scenes, although bits where the pups are in danger elicited more than a few gasps at the public screening and should keep kids on the edge of their seats.

We also bear witness to the discovery of fire and a few scenes featuring Lucy, the skeleton discovered by an archaeological expedition in 1975.

Honestly, with everything coming out about Weinstein and Kevin Spacey and Corey Feldman, I was really unnerved by all the scenes in the last few episodes where Will is in just a hospital gown and they keep tying him to gurneys and chairs and beds.

She couldn't have imagined that 14 years later, she'd be played by an Oscar - nominated actress in a few memorable scenes in a critically acclaimed movie.

Though the men's trip through Europe has a few moments of mischievous salaciousness, especially an unexpectedly sensual sequence in an Amsterdam dance club, these scenes are often shackled by a detached, hermetic quality.

It's small, vivid, performance by James, who suggests in just a few high - voltage scenes how her efforts to improve and reform Moll are framed by toxic judgment, guilt, and a need for control.

You'll have tears of mirth rolling down your cheeks one moment, when Renton is forced to make an emergency visit to «the worst toilet in Scotland», and you'll be devastated at the utterly tragic loss experienced by the characters a few scenes later.

The childhood scenes are set in a Christian school that is depicted in the standard way as heavy on the discipline and little on the education, with the exception of a moment of inspiration by history teacher Garrett Walden (Jaleel White, «Judy Moody and the Not Bummer Summer») and a few segments showing principal Michael Akers (Thomas Lennon, «We're the Millers»), and basketball coach Murray (Tony Hale, «Brave New Jersey»).

Lots of non-violent, non-gory but otherwise unsettling scenes worth mentioning: many «jump» scenes when people or objects startle others; we hear some noises during the night in many scenes (creaking doors and floorboards, screams, eerie whispers, doorknobs turning, pounding at doors) and doors slam shut as people run past them; we see eerie carvings and sculptures throughout a house, a maelstrom and sculptures come alive and scream and a skeleton sits up abruptly; a ghostly face is seen at a window and in a ceiling, windows become eyes, ghostly children are seen a few times (in one scene, a ghostly baby from a sculpture crawls under the sheets as a woman lies in bed) and a woman's hair is braided by invisible hands.

Recruited by an old chum (Peter Boyle) to help find an exotic prostitute missing in Chinatown, Hammett enlists his implausibly gorgeous neighbor (Marilu Henner) to play Girl Friday as he matches wits with colorful actors including Jack Nance («Eraserhead» and other David Lynch works), David Patrick Kelly (whose strangled voice is an interesting counterpart to his iconic «Come out to play - yi - yay» taunt from «The Warriors»), Roy Kinnear and a few old - timers from film noir's heyday (the scene with Sylvia Sidney is especially good).

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).

There are a few deleted scenes included with optional commentary by Luke Scott, who also gives in a gives us an audio commentary track.

Created in 2005 to justify a fourth American release on DVD, the extended cut lengthens several scenes by a few frames and reinserts scenes depicting Maximus tending his troops and of political intrigue in Rome, but does nothing to alter the story or characters overall.

A cocktail party features glasses of wine held by men and women and a few of each drink from their glasses, a man at a party sips from a glass of whiskey and another man chugs from a bottle of clear liquor (the label is hidden), a man drinks expensive whiskey in his office and his living room, a man holds an open can of beer on a sidewalk, four men in the back of a pickup truck drink from beer cans as the vehicle is moving, a man drinks from a small bottle of whiskey in his living room (the scene cuts to him lying asleep on the floor with the empty bottle, two crushed beer cans, and a cigarette butt around him), a man at a party says that he is wasted (implying intoxication, no drugs are seen or mentioned), a man offers a worker a 6 - pack of beer to bring a shovel and help clean a bathroom (please see the Violence / Gore category for more details), a man offers another man a drink and he declines saying that he is high on life, and a man holds a can that could be beer.

Luna's Cassian remains a mystery by the end, dashing yet half - sketched, while Mendelsohn only earns a few scenes in which to show his teeth.

If Warner Bros. had chopped off the last 20 minutes of Wonder Woman, and worked in a few more Amazon fight scenes, I would've raised the movie's rating by at least a star.

In a sense, it would seem like having all of these egos is a small - time film might work against the production, but by all appearances, everyone put in their best effort in making this film work, with what must have been a sparse crew and few takes allowed for every scenIn a sense, it would seem like having all of these egos is a small - time film might work against the production, but by all appearances, everyone put in their best effort in making this film work, with what must have been a sparse crew and few takes allowed for every scenin their best effort in making this film work, with what must have been a sparse crew and few takes allowed for every scenin making this film work, with what must have been a sparse crew and few takes allowed for every scene.

There are a few scenes spread out in The Disaster Artist briefly and seriously touching on Tommy's wildly uncooperative behavior and his paranoid impressions of betrayal, but for the most part, it's Franco pulling off a masterfully expressive turn surrounded by his personally created chaos.

As we watch young African - American characters — and a few young white women, too — mistreated and / or killed in scenes that go on and on and on, it's hard not to wonder whether Bigelow (and the material) would have been better served by not teaming up with her usual (white) screenwriter, Mark Boal (who also wrote The Hurt Locker and Zero Dark Thirty), just to bring in the perspective of actual people of color, rather than that of white liberal guilt.

But queerness has never looked so bland, and for a film about a sexual revolution, pleasurable sex is conspicuously absent: Indeed, most of the shockingly few sex scenes result in the protagonist, the white, all - American, conspicuously attractive Danny (Jeremy Irvine), so ashamed by his apparent debasement — he briefly resorts to tricking for cash — that he's literally brought to tears while having his dick sucked.

A five - minute featurette called «Greetings From Bull Mountain» is the standard five - minute B - roll / soft - sell interview errata that features a few additional male buttock shots; «King of the Mountain» is a two - minute music video that splices action sequences from the film together with bloopers and sets it to music (something resurrected in feature - length form by this year's ESPN's X-movie); and nine chapter - encoded deleted scenes (blissfully sans commentary and running between fifteen seconds and a minute, each) are essentially long «comedy» shticks that prove for as bad as Out Cold was, it could have been even worse.

In the only stylistic flourish to suggest the director's hand, Tim Burton gives us a few scenes of her art infiltrating real life, as she sees and is haunted by random people with exaggerated eyes staring at her and through the lie.

In some ways I'm more persuaded by Dixon's struggle to turn over a new leaf than I am by the fiery crusade of Mildred Hayes, a grieving mother whom McDormand invests with the kind of scene - stealing ferocity that will doubtless pummel more than a few academy members into submission: Vote for me, bitches!

The farm scenes in particular (the poor city is reduced to only a few locations (that look like sets actually) and seems much smaller than the town in Sunrise are really stunning: much of the film feels like Days Of Heaven was the film Murnau actually wanted to make (same location: wheat field in the upper midwest, attacked by a natural disaster, though Murnau doesn't appear to have the budget for his hailstorm whereas Malick could afford locusts).

It's a dark echo in there, side - by - side with Jimmy's grim dedication to buying up lakefront property and turning this prelapsarian wonderland into an exclusive, members - only club, but the film explores neither beyond their mention and contents itself to wrap up with a few scenes of mayhem, three insipid montages set to horrible music, and the same finale involving the birth of a child it seems like Martin has done now in a good half of his films.

D.P. Linus Sandgren shoots the many musical numbers, and numerous other scenes besides, in gorgeous widescreen long takes that privilege space and bodies in ways managed by few modern movie musicals.

Throughout La Vie de bohème, the novel's romanticism is undercut by the ridiculousness of the characters waxing intellectual in their impoverished circumstances, which then makes the few moments of seriousness (such as the final scene, in which Rodolfo's lover dies) refreshing and surprisingly emotional in contrast.

In terms of special features there is all the previous content included back on the «70th Anniversary Platinum Edition» release, which some of it includes an Audio Commentary By Leonard Maltin, Eric Goldberg, and J.B. Kaufman, a few making of featurettes, deleted scenes and music videos.

Schaffner came from TV, and while he has few of the obnoxious visual affectations of the TV - trained director, he tends to restrict the most significant actions and relationships in his films to spatial arenas that could be served very adequately by the tube rather than the Panavision screen: the real convention hustle in The Best Man takes place in hotel rooms, hallways, and basements; the tensest moments in his strange and (to me) very sympathetic medieval mini-epic The War Lord are confined to a small soundstage clearing or that besieged tower; the battle scenes in Patton are hardly clumsy, but the real show is George C. Scott; and Nicholas and Alexandra comes alive only after the royal family has been penned up under the watchful eyes of Ian Holm and then Alan Webb, far from the splendor of St. Petersburg or the shambles of the Great War.

Excessively arch in a few places, but superbly acted by Yves Montand and, for a couple of brief scenes, the hauntingly enigmatic France Lambiotte.

Blood is sometimes depicted in these conflicts, which include a few detailed scenes of men impaled by spears, swords slashed across chests and throats, and characters shot multiple times by small steel arrows that are shown protruding from their bodies.

The film rates this high for me not just because of its technical skill (the ensemble acting is terrific, with Kelly Macdonald in particular doing great work in just a few scenes, and Roger Deakins's cinematography is as good as anything he's done with the Coens, and that's saying a lot) but because of its ambiguity: because the questions it raises about narrative and about society are as interesting as those raised by any other film (but one) of 2007.

The plot forced Burgundy away from the news desk, and he is separated from his crew for quite a long time (much longer than the similar move in Anchorman, which amounted to only a few scenes), and Ferrell by himself without Paul Rudd, David Koechner, and Steve Carell to play off doesn't work nearly as well as the ensemble moments.

As Arthur's dragon - lady fiancee, Jennifer Garner is the worst thing about the new version, closely followed by Nick Nolte in a few short, growling scenes as her menacing dad.

The scene when Oscar meets and glues together China Girl's broken legs (a reference to his inability to heal a wheelchair - bound girl at one of his shows, played by the actress who voices this animated counterpart) is one of the best in the film, precisely because it is one of few where Raimi takes his time to let a scene unfold naturally, rather than try to outdo what came before both visually and energetically.

Only Fanning (and Common in a few scenes) seem well - cast and engaged by the script.

Partially shot by director Spike Jonze (he and Coppola were married from 1999 - 2003), the documentary features cast / crew interactions, glimpses of Coppola's directorial methods, various scenes from the movie in the process of shooting, and plenty of entertaining footage of the always great Bill Murray — including more than a few instances of his favorite phrase to recite in Japanese: «who do you think you're talking to?»

Though she only appears briefly, Negasonic Teenage Warhead returns for a few key scenes in the film and during one in particular, she comes out as queer by introducing Deadpool to her girlfriend, Yukio.