Sentences with phrase «earlier scene»

In an earlier scene, she happens upon Lyndon and Lady Bird Johnson examining a new pair of drapes for the White House that's now theirs.

An earlier scene depicts an execution — we see the gun held to the convicted character's head but the view cuts away as the shot is fired.

At the end of a big rhinoceros battle, a male character submits to Gurira in the film's single most iconic shot, while an earlier scene in which she tosses aside a bad wig ranks as the most gay - friendly Marvel moment to date.

Only an hour earlier this scene was unimaginable.

The sense of the awesome and the mysterious in the earlier scene gives way here to theological assurance and eloquence.

There are however in this period no more of those outstanding personalities who dominate the earlier scene.

In an early scene, Helen Oakes and her husband lie in bed watching news of escalating tensions in Western Europe.

In early scenes she is seen at prayer meetings, where the pastor tells her that Jesus will shield her if she encounters evil.

All this goofiness can hamstring a movie's emotional beats, and there are a few Ragnarok moments that don't have quite the dramatic pull they should (one early scene between Thor, Loki and their father, played by Anthony Hopkins, particularly suffers).

So when 9/11 hit, rock was already demoralized about its purpose, especially politically, and at something of a low ebb in general — you can see this in the early scenes of School of Rock.

In earlier scenes she, too, tries common cures for marital ennui: the fantasy of having a baby, dreams of exotic vacations.

In another, Merrick, as a polished mirror for others» self - images, discovers that he reflects their nothingness; and, as an early scene title announces, «When the Illusion Ends He Must Kill Himself.»

It's an early scene as this book and there won't be more to share for a while, but it was fun to give everyone a peek.

Crowe plays this note fairly well in his early scenes, his downcast eyes and reserved, low voice in front of the king indicating that fealty that comes from fear of punishment rather than devotion — a fear thoroughly justified when Robin's frank talk to his sovereign on the justness of these «holy wars» lands him in the stocks with proto — Merrie Men Will Scarlet (Scott Grimes), Little John (Kevin Durand), and Allan A'Dayle (Alan Doyle).

By the time Stiller's character engages in a slapping fight with a pair of monkeys, Night at the Museum: Battle of the Smithsonian has incontrovertibly established itself as an endeavor designed to appeal solely to small children - which is undoubtedly a shame, given the strength of the cast and the promise of the movie's early scenes.

A lot of the early scenes don't make much sense if the Gellhorn we see is so clearly a mature, experienced woman.

It's a hilarious premise and the early scenes setting it all up are priceless.

So formidable is Sister Aloysius, the principal of the St. Nicholas Church School, whom the kids, her Catholic subordinates, fear, as evidenced by an early scene where the abbess» voice, like an electric charge, jolts the slumbering parishioners into a comically exaggerated alertness during Father Flynn's sermon, that we believe this woman, this nun, is all - powerful.

Gosling and Dunst's low - key chemistry in these early scenes hint at the film that All Good Things might have been had it bothered to ground itself in the specifics of the Marks» romance.

The film's earliest scenes are its best, the most concrete and precise, including the first scene of Burdon and his wife in their suburban kitchen.

The encounter that follows will reveal unexpected depths in both characters, and new layers of moral complexity in Sean Baker's unmissable Tangerine, a sneaky slice - of - life indie that comes on all casual and cinéma - verité in the early scenes, then slowly coalesces into a romantic comedy as intricately constructed as any door - slamming stage farce.

These early scenes pointedly juxtapose Harding's rousing but controversial ascent with the hardships of her life in Oregon, growing up without love or affirmation and with frequent explosions of violence and bitterness.

There's a tender drama about reconciliation, growing old, and facing death wrestling the more commercial choir - contest story - line with the early scenes between Stamp and an unrecognizable Redgrave resembling a gentler take on «Amour».

The early scenes in «Revenge» have a sensual pop to them, with Robrecht Heyvaert's camera fusing the sculpted desert landscapes of the exterior with the sexual decadence of lovers on a getaway.

It is both the source of her frustration — her struggles to speak up and assert herself in the film's earlier scenes — as well as a secret strength: She understands the language of this world, and watching her slowly take command is stirring.

As a sign of how well Daley and Goldstein have cast the film, there's an early scene featuring a deadpan Camille Chen as a fertility doctor, whose backhand insults and dives into inappropriate personal matters almost go past our notice.

Levinson has a deft touch with ordinary people and places, and the film's early scenes, especially, take care of business in a satisfying, sideways fashion, developing character with exposition and finding every avenue for real - world humor.

In early scenes, the faint orange luminosity of ofrenda candles and autumnal leaves are more noticeable than ever.

The eerie early scenes fade into standard space horror panic and given how crowded that particular subgenre is, The Cloverfield Paradox emerges as a pale imitation.

A docudrama that in its early scenes feels like a documentary — the co-directors have a nonfiction background, and the actors are actual carnival performers — the film plays out like a small - scale fairy tale.

This early scene — despite the beautiful big Dakota sky, acoustic guitar sing along and crackling, fiery glow — serves to strip all romanticism from the American cowboy lifestyle.

Early scenes have him staking his claim to the throne in trial by combat, taking on a challenger in a brutal fight that foreshadows battles to come — wars for the soul of his country.

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.

Given the jaunty promise of the early scenes, the drawn - out denouement is a mawkish disappointment.

Well, we can remember back to an early scene when Maxine cuts her finger.

In an early scene, the manager of the jewelry store (Michael Hitchcock, of «Best in Show» fame), trying to get her to show customers the «love is eternal» look to help sell jewelry, calls over a hot young thing with a ludicrous name, Kahlua (Kali Hawk), who, between flirtations with the manager, demonstrates.

In one early scene, the camera captures Francis addressing a circle of cardinals at the Vatican.

The tension of Franco and Hill's early scenes together maintains intrigue for a while, but True Story never quite indicates that it has something compelling going on beneath the surface.

As with Hathaway, Jackman appears to have starved himself to emaciation so that in early scenes, he is all gaunt cheekbones, hollow eyes and open - throated singing.

As for that key moment that sets up the final act, I thought the film established the character motivation adequately with the earlier scenes showing us Schultz's reaction to some of the violence against slaves.

There's terrific warmth in an early scene in which she celebrates a son's birthday, and Stone and his production team are scrupulous at establishing socioeconomic specifics: This family can afford video games and a secondhand laptop, but those are as much sacrifice as luxury.

The greatness of Django Unchained, however, comes not from its nods to Corbucci and Leone, its prodigious reliance upon Ennio Morricone compositions, its deliciously evil villains, blood - spattered vengeance or comic inserts (though an early scene in which the newly freed Django picks an outfit to pose as Dr. King Schultz's valet is endearingly funny).

But no movie can maintain that kind of momentum, and while the earlier scenes of Hook's frightened negotiation of streets which may harbour saviours or killers maintain a certain tension, the plot loses focus a little when he finds refuge in the flat of a former doctor and his daughter, and the story turns its attention to the political motivations behind the hunt for the fugitive by both the British army and the IRA.

One is an early scene of her being terrorized and abused by Taiwanese drug thugs: Lucy's abject helplessness here is hard to watch.

Inside the home, Val (Regina Casé) is the maid for a well - to - do São Paolo family; during an early scene, she wonders aloud why someone would simply place an empty ice tray back in the freezer without refilling it first.

Debut director Yanne Demange does a remarkable job of ramping up the tension in the early scenes as his camera jostles with protestors summonsed by their wives and mothers» ritual banging of dustbin lids on the pavements.

Let's hope the women who make up the majority of audiences also realize that the lead - up to a wedding can last months, because the movie's early scenes similarly drag.

Night scenes were good, in many early scenes there is a lot of fog, and details in the fog were always transferred well.

olivier almost spoils it with a horrible french accent in early scenes but don't let it put u off the film; he won't be around for long.

An early scene carries the message: We meet Stu (Ed Helms), a thoroughly domesticated dentist, who is living with a woman (Rachael Harris) he plans to marry.