Sentences with phrase «during emotional scenes»

The processing of body expressions during emotional scenes: the modulation role of attachment styles.

It is during these emotional scenes that the film is able to be effective, though Anderson isn't able to carry over the poignancy or sense of terror to other scenes, as the artifice of the main story, as well as the weakness of the main villain, snap things back to the mundane.

Dayton and Faris honor the feel of 1973 by shooting on anamorphic 35 mm film, even if handheld lensing during emotional scenes gives things a more contemporary edge.

Not exact matches

The emotional scenes emerged during debate on the Civil Partnerships, Marriages and Deaths (Registration Etc.) Bill, which includes introducing formal recording for a stillborn child born before 24 weeks» gestation and giving coroners the power to investigate late - stage stillbirths.

I did think there were scenes of emotional import (I did care during Tony's re-watching his dad's old films, amanohyo) and there were a handful of funny moments that worked (Hammer's «Ex-Wife»... yeah kinda figured that would happen, but hey there's a pill for that now!).

Portman's big scene and the most emotional moment in the movie comes during that shock - reunion.

Warm - hearted but clear - eyed indie effort richly repays audience patience during deliberately paced and provocatively allusive early scenes with a cumulative emotional impact that is immensely satisfying.

Carter Burwell created the score which ebbed and flowed with the scenes, bringing us to the emotional highs and simmering with us in discontent during the lows, presenting twinges of his score for Miller's Crossing.

Moretz ends up going on a rampage for the climax like the Dark Phoenix from X-Men: The Last Stand with arms held out and eyes in «looks could kill» mode, but lacks the emotional resonance of Spacek's trance - like turn, in which her powers unleashed came as a shock, but with an overriding sense of tragedy; Moretz is shown practicing her skills extensively during several scenes, which makes her revenge seem much more calculated and evil.

This emphasis on complexity and a disinterest in reducing a heroine to a sad - sack victim extends to Lelio's hyper - vivid aesthetic, which drapes the film in surreal dream sequences, beautiful colors and left - field soundtrack choices like «Time» during a pivotal emotional scene.

On paper, the jump from an emotional funeral scene to a frantic attempt at shower sex during a party might seem like a shock of humour, but on - screen, it's rather unbalanced.

Shaky handheld camerawork during raucous party scenes and an overwrought emotional score feel too prescriptive, and although there are a number of pithy one - liners that might raise a titter, it lacks the wit which made Wilde the toast of London in his prime.

He is energetic and fun as you would expect from the role, but shows a lot of emotional depth during several powerful scenes between Lumpy and Ramsey.

Also, Streisand fans will admire her gutsy performance, where she manages to alternate between alluring and despicable in convincing fashion, and is especially good during scenes of emotional breakdown.

Like Jandreau, Scott is re-enacting his own story, and the moments of them together at Lane's rehabilitation center — particularly a devastating scene in which Brady helps Lane ride a makeshift «horse» during a therapy session — have a staggering emotional authenticity.

These dance scenes, that pop - up elsewhere during the narrative, have an expressive power, an emotional charge and a kinetic energy that's mostly absent elsewhere in the hijack - rescue drama.

The songs were mostly composed after the basic story had been conceived, but prior to Chazelle's finished script, allowing the writer - director to build up the scenes in plotting and emotional relevancy, while Hurwitz would add additional scoring, with later lyrics by Benj Pasek and Justin Paul, as the scenes were being put together during the production.

While the political debate that unfolds between Stanley and John during that scene is as forced as the road trip formula that outlines the plot, this emotional argument rings true, especially for us who are critical of Stanley's decision, and a moment of simple brotherly love that caps the scene is truly touching.

We might avoid writing emotional scenes during our first draft.

Many of the cut - scenes that play in between levels didn't seem to focus on Tom and the struggles he faced (e.g. emotional, physical, etc.) during his adventure.