Sentences with phrase «character dialogue scene»

The screenwriter has worked overtime to make a two character dialogue scene into a cinematic feast, placing the characters at various locales and telling the story in montage.

Not exact matches

Dialogue, characters, locations, scenes and even the outcome are vastly altered, and the whole character of The Joker can either be a deranged friend or a deadly foe.

Uprising is long, has yawn - inducing action scenes, terrible dialogue, a contrived plot that makes ZERO sense, and commits that most hated crime of horror movie sequels - returning beloved characters from the original only to kill them or turn them into forgettable villains.

Indeed, it has all their hallmarks: amusing, witty, even absurd dialogue; hilarious ensemble scenes; wonderful characters / cameo performances; and incredibly funny blooper reels during the end credits.

Clooney proves again that he knows how to direct intelligent films that rely on a great dialogue, and this intriguing character study is gripping from the first scene to the last, centered on a brilliant political battle and with an intense performance by the always fantastic Ryan Gosling.

There have been films more implausible to be sure, but the successful ones managed to move briskly, feature more interesting characters, or crackled with smarter dialogue that Man on a Ledge ever does even for one scene.

One of David O. Russell's trademarks is his ability to create chaotic scenes full of firing dialogue from multiple characters in a masterful manner, making memorable moments out this seemingly improvised, but artfully scripted sequences.

At times, the dialogue is borderline cringe - worthy and most of the characters don't appear believably to be a part of the hardcore scene, which is distracting.

The characters share a believable chemistry, although they remain static aside from dialogue scenes at inns.

Though best known for her arch dialogue, Cody has a knack for location, setting stories in sharply sketched places and clearly defined moments in characters» lives — qualities that sometimes make Ricki And The Flash feel like a throwback to the minor - key American filmmaking of the 1970s, when Demme first arrived on the scene.

There are scenes driven on quiet, subtle changes in a single character's expression or the way one characters ends a discussion before it begins, and they have more resonance silent than had they contained dialogue.

Some recognizable Lord - Miller touches survive in the better bits of dialogue, particularly in the scenes with legacy characters (something the filmmakers, now credited as executive producers, tried out via The Lego Movie).

While some artifice creeps in during the sometimes strange dialogue and sensationalist situations, there is an underlying truth to each scene and character that anchors the film from becoming too overwrought, as many other family crisis dramas tend to suffer from.

Its dialogue is repetitive, its characters are underdeveloped, and there are moments in which the film steers into the surreal only to lazily abandon this journey in favor of a more easily presentable resolution to a scene.

He puts his gritty staple on some key and entertaining scenes including an opening that includes the sexy Cruz being pleasured by manly Fassbender however, those are not enough to make up for the film's obvious missteps that include mundane dialogue and unclear character beats.

If the choreographed sex scenes break into the pedestrian plot and dialogue of Body of Evidence like numbers in a musical comedy, that's because they appear to be the only scenes the filmmakers really care about; otherwise the characters and story can go straight to hell, one feels, as they eventually do.

Take away the love it or hate it score (it's jarring, but in its own way, it almost feels like it's a character itself) and the long stretches of dialogue - free footage (again, the praise for these scenes reeks of movie snobbery to me — five minutes is good, twenty minutes is puffed - up filler), and what you're left with is a film that showcases the downward descent of one man.

Much has been written about Andromeda's sorry technical state, and it's no exaggeration to say that this is one of the buggiest and broken high - profile games released in the past several years, with an impressive laundry list of issues, from broken quests to disembodied heads appearing in scenes, from characters randomly spawning into other characters to dialogue that has no relation to the situation.

What follows is a seemingly endless string of expository dialogue exchanges and flashbacks (including the first instance of a slap across the face eventually leading to a deeper understanding between two characters — after Jared forces himself on Melanie during their first meeting — and an awkward scene that attempts to romanticize Jared's insistence that he wouldn't make Melanie feel entitled to have sex with him even if they were the last man and woman on Earth).

BEST SCENE: The flashbacks that start off the movie are a charming way of giving our characters a little history without overwhelming us with dialogue.

This is a common trait with Lady Bird, where the shots compliment the dialogue into making it more than just a scene between two characters.

It was a courtroom scene with extras, a packed courtroom — the judge, five characters, and some dialogue.

Each character gets an opening vignette, a couple of milestone fights, and an ending scene, but they take the form of mostly - silent dialogue exchanges and grainy pans over the usually crisp artwork.

And there were tiny, tiny COGS working behind the eyes of the characters in the dialogue scenes.

Husted compares several scenes from both versions, and notes both the musical styles of the period, and the extra film footage that added more character information, dialogue exchanges, and plot minutia.

If this movie was stretched to that length, there probably would've been more character development and several dialogue - intense, confrontation scenes.

It's an impressive technical achievement, and I also appreciated how much emotion is conveyed by the central characters, particularly in the (numerous) scenes that feature absolutely no dialogue.

However, each actor in the ensemble still has an opportunity to have fun with their character, whether it is with funny dialogue or pure action sequences in the numerous battle scenes.

The female characters are excruciatingly one - dimensional (and whether or not that's the point doesn't make them any more engaging), and the constant repetition of certain scenes and lines of dialogue is incredibly grating.

Working with a smaller budget, it's basically a four - character film which wouldn't suffer too much from being staged in a theatre — featuring unusually long dialogue scenes in diners, restaurants and motel rooms, with staccato rhythms and masculine posturing borrowed from David Mamet, another of Anderson's key, acknowledged influences.

To me, however, character building is not just something that can be put aside for another time, it must be constantly happening with every scene and dialogue spoken otherwise no one would devote themselves to these characters as much as they have done.

There's sometimes expository dialogue covering what's happened offscreen since a scene transition, but Hitchcock and Swerling have zero interest in showing the characters» daily chores to maintain on the lifeboat.

As an actor, which is more challenging, keeping true to your character while doing all that shoot «em up stuff, or the heavy dialogue scenes?

Maxing out a relationship can provide a brief scene between the two characters in question, but mostly all that comes from this leveling are repeated, generic lines of dialogue and some loot.

Despite the short amount of time spent with tertiary character Chicharrón (voiced by Edward James Olmos), his scene resonates based purely on the shorthand of the dialogue.

LaBute goes for emotionally distancing effects, as is evident in a repetitive cycle of gallery scenes wherein all the characters engage in identical introductory dialogue.

In a shoot that stretched on for months, he hired and fired entire crews, recast leading roles, reshot scenes in different sets, and added and deleted subplots (including one in which his character had a flying car), but never succeeded in learning the dialogue he'd written for himself.

Finding Dory: This absolutely delightful Finding Nemo followup bests its predecessor in every way imaginable, and boasts a scene - stealing periphery character named Gerald that doesn't have a single word of dialogue and yet is more memorable than 95 % of film protagonists.

Early on, in a scene of dialogue that may as well have been delivered directly into the camera, a character explains that there aren't any original ideas these days and so we're stuck rehashing old concepts from the 80s to make a quick buck.

He lingers on long uncomfortable silences, focuses on facial distaste by the characters, and sometimes lets inconsequential dialogue envelop the scene.

His screenplay credit may refer to little more than an outline of character and scene descriptions, because in just about every scene, actors look like they're coming up with dialogue on the spot.

Envelope pushing gags (lots of raunchy dialogue, a donkey show, and there is a scene of one character peeing on the other) abound, in the first R - rated comedy from the Farrelly Brothers (Fever Pitch, Stuck on You) since Me Myself and Irene.

Still, the chemistry between Pearce and Jones is electric; scenes between the two that are light on dialogue and heavy on meaningful glances are striking, subtly conveying the tension building between the two characters from their first moments on screen together.

The performance happens more in between the scenes of dialogue or confrontation, she disperses a sadness and unrest that infects all the characters.

The main characters have terrible chemistry, the dialogue is ultra cheesy, and if you're going into this movie for the steamy sex scenes, you're better off watching PornHub or Cinemax, because this movie is softer than soft - core porn.

Every scene is an exercise in drawn - out affectation, with the characters» silent stares at each other, gazes off into nothing, and pauses between dialogue exchanges — all set to meaningful piano twinkles and drum beats — so distended as to intimate parody, an impression exacerbated by William twice telling enforcer Vincent (Martin Donovan) that his comments sound like something from a movie.

It has the twisted humor and borderline caricature characters and enough wild scenes and bizarre lines of dialogue, that I believe the midnight crowd will embrace it wholeheartedly.

A spiraling volley of dialogue gradually whips up as all of the characters (plus a few random outliers) engage in a dizzying scene that sees all of the story's dramatic threads escalate at once, in one room.

Some of the most haunting scenes in Preminger films are those in which dialogue ceases, multivoicedness dies down, and a character is left to confront his or her own enigma in silence: e.g., McPherson in Laura's apartment; Dan (Dana Andrews) with the milk bottle in Daisy Kenyon; Diana (Jean Simmons) waiting for Frank (Robert Mitchum) in the empty house in Angel Face; the brief solitudes of Cécile (Jean Seberg) in Bonjour Tristesse (1958); Brig (Don Murray) returning to his office to commit suicide in Advise and Consent; Fermoyle in his room in Vienna in The Cardinal; Henry (Michael Caine) alone in his house in Hurry Sundown.

Soderbergh frequently makes his presence felt as a formal annotator — periodically halting the action with freeze - frames, using elaborate color - coding schemes (as if to remind us of The Underneath, much as Keaton reminds us of Jackie Brown), and crosscutting between successive scenes with the same characters (the dialogue in the first becoming offscreen narration in the second), recalling Nicolas Roeg's Don't Look Now (as well as Roeg's mentor Alain Resnais).