Sentences with phrase «dialogue scenes make»

Sisters is one of these movies, as the rapidly cut, stream - of - consciousness comedic dialogue scenes make clear.

Not exact matches

Good: Starscream is a lot cooler in this movie, Best computer - graphics for any movie to date, Original Optimus voice, Bumblebee vs. Barricade scene was awesome, Decent story, but the Unicron story is a million times better Bad: No Hot Rod or Soundwave, Shia LeBeouf, Ending, Futile attempts to connect to classic scenes, lines and concepts, No Stan Bush soundtrack, Some immature humor ruined a lot of the movie for me, Poor dialogue I really expected a lot from this movie and am very critical about my feelings towards it - Overall Michael Bay made a good movie, but he made it appeal to the masses (immature jokes and a lot of action) and it gave up a lot of other crucial aspects to the story and quality of the Transformers franchise.

Like most of the more notable critics have pointed out; no personality is to be found among the Decepticons (the least they could've done is to synthesize StarScream's rasp to throw the fans a bone for God's sake), an overly active camera and «busy» robot models make some action scenes little more than a confusing blur, and goofy, unfunny dialogue permeates the story.

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.

Two films came out this year that had brilliant cinematography and very little dialogue, the difference is mad max didn't put me to sleep and it had action scenes that pushed the story forward rather than happen in the background and force the audience to squint to even make out what's happening.

Worthington, who has garnered a following as an action hero, lacks the same crackle playing a normal guy done wrong, and his difficulty shedding his Aussie accent makes his dialogue come off as odd during many key scenes.

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.

It's not surprising that the trailer for Columbus plays up its most conventional elements, the scenes (and dialogue exchanges) that make it seem like an ordinary indie melodrama about two strangers whose lives intersect during a confusing time for both of them.

Here he's made a chamber piece of quiet scenes, acutely heard dialogue and subterranean emotional shifts.

(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.

The movie's utter watchability despite its linearity — and its subjects» dialogue being so inscrutable to Yankee ears — attests to Nolan's ability to make his audience elicit the same extreme emotional reactions to, say, a scene of a few hundred anonymous soldiers slowly responding to the impending barrage of German bombers as they did to Astronaut McConaughey outliving his family on Earth.

The music occasionally, almost out of luck, sets the right mood, but most of the time just makes for awkward dialogue scenes and a composition clash of sound and visuals.

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.

Both scenes are done without audible dialogue which makes them even more powerful, something silent film makers well understood.

Often during the calendar - straddling list - making frenzy of «top ten season» a scene or a line of dialogue or even a whole film will refuse to dislodge itself from any internal conversation you may have with oneself about the year.

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.

There is a lot of «Hi, I'm Montgomery Scott also known as Scotty» dialogue to make sure that audiences don't miss the point as the movie careens from one action scene to the next.

Playing the younger version of Michael B. Jordan's nuanced villain for only a few minutes, the young lad was only on screen briefly at the start of the movie, in a flashback scene and for a longer - speaking part in a poignant dialogue in the ancestral plain (trust us, it makes sense in the movie).

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.

From the tightly scripted dialogue — by turn sharp, harrowing & funny and without an ounce excess on its bones — to the beautifully melancholic score by Carter Burwell and the powerhouse performances from a cast who've never been better, I fell in love with the entire movie, with every single breath - taking, nauseating, alarming, disturbing, uplifting scene, a fact made slightly more unusual given that I've tried — and failed on repeated occasions — to watch and enjoy Martin McDonagh's back catalogue.

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.

His entry, Planet Terror, is the sort of shoddily plotted excuse for madcap violence, gore, and carnage that should be expected, while Tarantino strangely tries for the high road, making the focus of his Death Proof its laborious dialogue scenes, which are at least fortunately topped with a nerve - wracking car chase.

The high - fidelity audio here just makes it more obvious than ever when, e.g., the dialogue in exterior scenes has clearly been recorded inside a studio.

Although he mostly shows it with snippy dialogue and rigidly controlled schedules, Daniel Day - Lewis» Reynolds Woodcock is a fussy little dude, something made especially clear in a deleted scene that Anderson recently released to promote the film's upcoming home release, showing the Woodcock siblings descend from prodding at each other into a full - on food fight.

The Jazz Singer (1927) was the first feature with a dialogue scene, but does that make it a classic?

But Focus will need to make some nifty marketing moves to reach them; despite the age and appeal of the cast, the dialogue is often expressed in a kind of stylized formality, while art house touches like a scene backdropped by «Ave Maria» and an upper - crust manor setting can belie the film's quicker, looser rhythms.

The sharp dialogue, impressive CG animation and cleverly constructed action scenes make «Albert» a must - see for all ages.

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.

In celebration of The Disaster Artist movie release and The Room's 15 year anniversary, Co-star, line producer and former Wiseau roommate Greg Sestero is coming to town to present an exclusive behind the scenes documentary about the making of The Room, a live reading of this first edition of Tommy's screenplay, which features settings, dialogue and plot devices that never made it on screen!

From an N - word laced opening sequence to a steady diet of profanity to its graphic dialogue to gratuitous frontal nudity to its much - anticipated sex scenes, Zack and Miri Make a Porno leaves even less to the imagination than its suggestive, testosterone - teasing title.

It's good at making tiny things floating about the screen look pretty and come to life, but lacked any real relevance in scenes driven by dialogue and story.

The only scenes that work happen to involve a good actor, Mekhi Phifer (8 Mile, Clockers), who actually manages to take trite dialogue and silly romantic elements and make them work to his advantage.

In fact, discounting a few painfully awkward dialogue scenes, The Neon Demon's first half makes the film seem like Refn's most surface - level - satisfying work since Drive.

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.

Le Divorce is a professionally made movie, with likeable actors, good direction, and some nicely written dialogue that works well in certain key scenes.

He makes up for it in the next scene, usually with some great overlapping dialogue shots, but Lifeboat's a propaganda picture.

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.

Devoid of music, or overtly emotional scenes, the power of dialogue and acting makes it atmospheric and oppressive.

Like many kitchen - sink comedies that end with outtakes in the closing credits, you can tell by the fact that the scenes that didn't make the cut are similar to scenes that did, except with different dialogue and mannerisms, which further cements the notion that any script these actors read from was merely a blueprint.

The usually reliable Melanie Lynskey is stuck squeaking stray lines of dialogue in the direction of her feet, while actor - director Swanberg spends most scenes sitting on the floor making goo - goo eyes at his own two - year - old son Jude, whose cuteness has been severely overestimated by the filmmaker.

Modern songs with modern lyrics underscore most scenes, making the Elizabethan dialogue sound jarring.

They have a way of writing dialogue and having it executed that makes the scene look as if the actors are improvising their way through it when in fact they write out every word and punctuation.

I did consider giving a readers discretion warning at the beginning as the dialogue is hugely offensive but that's also what makes the scene so intense.

It changes volume in the middle of a scene, displays audible hiss for all looped dialogue, and, in one priceless, incongruous encounter, makes it seem as though Buffy and Merrick are talking into buckets in the Sistine Chapel.

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).

That being said, the character artwork is beautiful and it makes the dialogue scenes and comic book story sequences even more intriguing to watch play out.

Martinez notes that Refn wrote a full screenplay with dialogue and action, but instead chose to mute a majority of it making the score and sound effects drive the scenes.

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.

Although even that flaw arises from the script; Fox and Seyfried have the sort of rapport that befits good friends but never get the dialogue or scenes that would make their «bff» status concrete.