Sentences with phrase «dance sequence where»

SEX / NUDITY 4 - A young man tries to seduce an older woman: she wraps a towel around his shoulders then moves down off screen and his face suggests that she might be doing something sexual but we see that she had been tying a towel around his waist in the shape of a diaper (there is an extended song and dance sequence where she refuses him and he chases after her).

Not exact matches

The whole sequence where Sheedy and 5 are getting closer and end up dancing is pretty corny to the max, laughably so.

Individual set pieces are amusing, but there are occasional lulls where sequences go on just a hair too long, such as when Fiona and Dom share a sensual dance on a boat and another when they fantasize about each other while separated.

And once in a while the movie absolutely soars: during an initial stop - and - start encounter between the boys, during a sequence where local teens dance to the Psychedelic Furs» «Love My Way,» and most mysteriously while Elio and Oliver wander around a memorial in a town square, sorting out issues while not quite naming them.

However, with a film like this where even though each of these set pieces start out with these songs they always expand into these elongated tap dance sequences which I'm sure are fantastic for dance films, but something about them just feel repetitive.

There's certain sequences, like in the center of the movie, where the two kids are dancing on the beach together.

There's a lengthy sequence in a private club where Mike used to dance, as the guy's try to get alternate transportation and convince Rome (Jada Pinkett Smith) to take over as the group's emcee, that goes on well past its usefulness.

A scene at a dance where Yelchin appears in an orange knit hoochie suit (that he bought from the joke store) captures some of the awkwardness of dances for a 13 - year - old, though I suspect the sequence only seems good in comparison to the rest of the film.

This is where beats like the naked women dancing in the opening sequence is a clever piece of foreshadowing.

Unsurprisingly, it is Fiennes» dancing that is the most delightful of all scenes, where the ebullience of his character bursts into a euphoric dance sequence, cementing his character as the vitality of the film.

There is one particularly memorable burlesque sequence involving the beautiful Erika Blanc where a coffin is carried out onto a stage and she proceeds to climb out of it and dance.

The first dream sequence, occurring shortly after he has joined up with the Wehrmacht as a Russian - German translator, takes place inside a church where Hitler and Stalin are shown gleefully dancing together to a light piano arrangement of «Deutschland über Alles» — an ironic, absurdist image which attracted considerable controversy in both Germany and Poland despite being taken from dreams remembered by the real Solly.

Extravagant special effects are taken for granted in superhero movies, but Ant - Man has enough imagination to make them seem both fun and necessary, whether it's during a scene where the shrunken Lang finds himself dodging Lucite heels on a dance floor or in a psychedelic, space - folding sequence set in the Microverse, the dimension of the sub-atomically small.

But compare that to the numerous moments across both Guardians films where the Walkman and music play key roles in character development and Baby Groot's dance sequences, and it's clear that Gunn was right and Feige was wrong.

The sequence volleyed back and forth between two locations: a dance studio where a crying young woman clawed at the mirrored walls, and another studio - in some other location, and without the mirrored walls - where Tilda Swinton was overseeing the routine of another dancer, played by Dakota Johnson.

Where the movie really sings, though, is in its cathartic, mash - up dance sequences, choreographed by Hinton Battle.

There are also some visually stunning sequences where little dialogue is spoken; in one, Marina dances in a club in an artistic marvel of fluorescent lights.

Movie One eventually ends up in an ugly bar in Mexico, where Salma Hayak steals the show during a slow dance sequence.

Then there is that sequence where it turns into a «Dance, Dance Revoltuon» rhythm game for about 2 - 3 minutes.

Like the complicated sequences and simultaneity of Cunningham's dances where some dancers were engaged in plays of force with each other and some were acting in solo moments, «Vertical Intersection Blue» acts as a solitary form and «Folded Cross, Yellow - Gold» appears to be hunched, reflective, and yet social.

Lang's desire is not to create a statuary of sculptural pieces that resemble a lapidarium - like display, but rather to stage an experience similar to that of watching a performance or a dance sequence, where each movement has a temporary stage that smoothly fuses into another.