Sentences with phrase «dialogue scenes between»

It is hardly a bad film, with solid dialogue scenes between characters.

Much of «True Story» consists of dialogue scenes between Michael and Christian in which the two play cat - and - mouse games to get what they need from each other.

Some dialogue scenes between Spider - Man and the Green Goblin are awkward because of the costuming.

But when it comes to dialogue scenes between actors, I find it far too constricting (and unfair to the actors) to plan out those shots without the benefit of first playing it on the actual location with the actors.

Not exact matches

He frankly discusses the dangers and demands that Pentecostalism presently faces, and examines possible future scenarios in the Brazilian religious scene, calling for dialogue and relations between the historic Protestant and Pentecostal churches.

No recent movie about The Troubles gives the audience the emotions, the pure hatred between the two forces, with the impact of «' 71,» the credit going not only to Jack O'Connell, known to us mostly for his role as the rebellious prisoners in «Starred Up» (never mind that the dialogue was largely indecipherable), but also to director Yann Demanage for setting up realistic seeming fight scenes, a series of breathless chases, and a sense of neighborhood that Demange found not in present day Belfast but in the English town of Sheffield.

The race sequences are well - staged and interesting, but a lot of the dialogue scenes in between are forgettable, and the running jokes don't really work.

The old time dialogue only brings out the confusion this movie brings to the table, and between that and the nearly pitch black scenes, many parts of

It is one of the many powerful scenes that uses the space in between dialogue to have the power.

A drippy romance, spending the vast majority of its time in private, two - hander scenes imagining inane dialogue between a dead Princess and a famously reclusive, private surgeon; it only exists because it knows neither of them is going to complain.

From the very first scene, the rhythm is off, the staging and editing graceless, and the dialogue (the screenplay is by Kyle Pennekamp and Scott Turpel) alternates between trying too hard and not hard enough.

Picking up for the late Sally Menke, editor Fred Raskin replicates the precise in - and - out - rhythms she managed in Basterds» dialogue scenes; the cutting never feels rushed, even when we're ping - ponging between multiple perspectives in a dinner - table showdown that employs DiCaprio to deliver one of Tarantino's signature extended soliloquies (complete with a faux Yorick skull).

His hand gestures, perfectly timed pauses between dialogues and even his impatient attitude does not allow you take your eyes away from him, even though the cinematography in these scenes by Javier Aguirresarobe, is beyond stunning.

The disjunction continues with dialogue scenes that flit between gags about turds, Cheers and douchebags and soppy / profound stuff about the true nature of fatherhood and friendship.

As those scenes progressed, the dialogue and situations between them felt far more fictionalized than his work with the CIA, NSA, or the scenes taking place in Hong Kong.

Outside of Vinson and some choice scoring / music selection that, along with its story, evokes some of the memorable 1970s work from John Carpenter (Assault on Precinct 13 and The Fog come to mind), You're Next is a fairly dreadful choice for a scare flick, with ineffective acting choices, a laughable premise, and no real surprises offered to anyone who actually pays attention to the poorly written dialogue that occurs between scenes of violence.

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.

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

This is an abstract making - of alternating B - roll shot in a variety of media, watermarked outtakes (including one from a deleted scene between Phoenix and Amy Adams), and snatches of dialogue from the film that gives the impression of a tight - knit cast and crew there to serve Spike's vision.

The track sounds incredible, with a great balance between the surrounds and center channel, ensuring you'll be able to hear the dialogue among some of the more intense scenes.

There's a wonderful tendency for scenes to switch moods within a single line of dialogue, especially those between mother and daughter.

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).

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.

The two stars fell in love during filming of the earlier To Have and Have Not, later marrying, and in fact new scenes in The Big Sleep were shot with extra dialogue between them to play up on public awareness of their real - life romance.

He clearly likes the scenes of dialogue between Depp and Edgerton as much, if not more, than the outbursts of violence And the excellent cinematographer Masanobu Takayanagi («Warrior,» «The Grey») hones in on these expressive faces.

There are a couple pivotal moments that get actual cut - scene, dialogue, and objective treatments ala the best bits of Saints Row IV, but they're few and far between.

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.

CHICAGO — You know those amateur porns with no - name actors that use cheesy dialogue in between the sex scenes those viewers simply want?

That's not to say «The Hitman's Bodyguard» is a total wash, however; the cast seems game, and perhaps they realize it's on them to elevate the material, so the scenes between Reynolds and Jackson have some genuine snap to them, even though the dialogue and characterization are barely memorable.

Stupid dialogue between action scenes, but they are done well.

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 handful of scenes shared between Garabedian and reporter Michael Rezendes (Mark Ruffalo) are dialogue heavy duels at their best, while still integrating ideally into the overarching plotline.

For these two scenes, you can toggle between four audio tracks (dialogue only, music only, sound effects only, or the final composite).

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.

This is first evident in the scenes between Bond and M, where the dialogue has a bite and edge (and funny edge, too) between them that has not really been seen in the series until now.

Many dialogue scenes were improvised, particularly those between on - screen beaus Hanks and Fisher, and the actors are given a chance to stretch some physical comedy muscles.

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).

The tense tracking shots interspersed with static point - of - view sets the scene more than any line of dialogue could - it's two years on from events of 2014 film Dawn and the battle between humans and apes, fuelled by the traitorous Koba (Toby Kebbell), has rendered the world a post-apocalyptic wasteland.

Like all Berkeley musicals, the aesthetic split between the work of the credited director, in this case Lloyd Bacon, and the choreographer's takeover of the dance scenes is so vast as make the film seem like two movies stitched together.The final 20 minutes belong to Berkeley, who takes the blunt visual comedy and racy dialogue of the rest of the film and transforms it into visual poetry.

The dialogue between characters during the scenes is so vague and uninteresting that it gets in the way of communicating what's going on to the player.

Dialogue between characters is replaced with a sort of pantomime during each scene, where emotion is still conveyed through each characters actions, and not a single word is uttered.

Cut scenes have always looked good, and they look even better with the power of the PS4 behind them, though the game's frequent transitions between full CGI and in - game engine (where you can manually advance the dialogue) for many of the lengthy expositions feels a little outdated.

Outside of a narrator occasionally explaining a scene — typically after solving a puzzle or beginning a new area — there is absolutely no spoken dialogue between the characters.

This occasionally leads to stretches where there's 20 - 25 minutes of talking, but at least during that time there's tons of melodrama and intrigue between the character»» not to mention some real over-the-top and completely hilarious dialogue during some particularly heated scenes.

The most common one involves listening to a conversation between several different characters and pointing out a contradiction with either a piece of evidence from the crime scene or within the dialogue itself.

Between fights, what used to be static, in - engine rendered scenes with text boxes have been replaced with adapted stills of the anime and spoken dialogue, bringing the anime and the game closer together than ever before.

Some of the between - scenes dialogue is great, and the various characters are unique enough to keep me coming back for more.

Somewhere you can hang out between missions, chill with your various NPCs and support characters, play minigames, maybe witness a few optional scenes or unlock some hidden dialogue, etc..

There's fun interplay between characters, particularly the character - building dialogue scenes that occur when you rest in town, as well as some nice voice acting, but the story is mostly an excuse to get you crawling through dungeons and focusing squarely on Nightwar's combat.