Sentences with phrase «emotional scene at»

It was an emotional scene at the Salt Lake Stadium last night as several spectators among the 63,000 - odd who turned up to watch the match cried after Brazil lost the match.

The emotional scene at the Capitol came on a day when more than 100 more students from the school were headed to Tallahassee by bus to meet with Gov. Rick Scott, Attorney General Pam Bondi and legislative leaders.

Amid emotional scenes at the makeshift courtroom in Warrington, northern England, when the conclusion of unlawful killing was revealed — almost 27 years to the day since the disaster struck — families who always suspected wrongdoing by the authorities hugged each other in the public gallery while outside a spontaneous chorus of «You'll Never Walk Alone», the Liverpool anthem, was sung.

Not exact matches

She has also helped me evade detection by grabbing me and kissing me, in public, in a fashion that causes passerby's to feel embarrassment at the thought of staring and by creating emotional scenes that cause the curious to momentarily forget what they were looking for.

A fairy - tale first winner at Leopardstown Christmas Festival brought jubilant and emotional scenes by the track and in the winner's enclosure afterwar -LRB-...)

Gilberto Nunez sits expressionless in Ulster County Court this week as a emergency medical responder on the scene when Thomas Kolman's body was found in his car describes Nunez's emotional reaction at the scene.

The volunteers were tasked with decoding information about other people?s emotional state by looking at their faces, listening to stories and observing scenes.

There was a very emotional scene as the three nuns, Sisters Marcella, Genoveva and Mariette, broke down, clinging to my arm, holding each other and crying helplessly as they all began talking at once.

Some patients in the study felt that police were acting in their best interest by offering security at the scene of an injury, providing emotional support, and expediting hospital transport.

In both age groups, a nap soon after encoding scenes that contained a negative or neutral object on a neutral background led to superior retention of memory for emotional objects at the expense of memory for the neutral backgrounds.

One thing that I noticed is when I do my work and look at my lines and kind of dissect and find the emotional parts in the scene, I go through it a couple of times in the night before and in the morning and when I get to work often times over the last year I found that it just there, it's there and it's at my beck and call.

One of the most impactful scenes comes from Kate (Chrissy Metz) who, still having not processed her own father's death, is the most emotional at William's funeral.

To the people saying the story sucks, it doesn't at all and even gets strongly emotional when you are forced to do something terribly heart breaking late in the game, now that is a gripping and sad emotional moment granted it doesn't last long enough but it is better story and more emotional than anything in halo or gears and that is one scene on a handheld!

At only 84 minutes, it never bogs down with needless seriousness or scenes of emotional schmaltz, always seeking to keep audiences smiling with sight gags, allusions that are actually clever, and choice bits of music that accentuates the action instead of just being shoehorned in to hock soundtracks.

We find scenes that seem to exist just for their heavy - handed emotional impact — usually those where «noble truths» are spoken — and we encounter turgid sappiness at times.

It might not have the regular pattern of script and scene arrangement but has that pain depicting out of the main character that would share the emotional loss of such individuals at large.

Anne Dorval gives an extraordinary performance as the mother, who lashes out at the boy but can't disguise her own suffering when he lands an emotional punch; their scenes together reminded me of Paul Schrader's Affliction for their sense of familial love gone hopelessly sour.

Cloris Leachman's sex scene with Timothy Bottoms, to the sound of the creaking bed, and her emotional explosion at the end really affected me.»

This might have been a savvy satire on today's celebrity - struck media culture, but Niccol unfolds the story at a lumbering pace, peppered with not - funny gags and dramatic scenes that build little emotional power.

There is a telling scene deep inside «Boyhood» that gets at the essential core of the emotional appeal of Richard Linklater's startling new film.

Sometimes you can cut one scene and the scene plays out great, when you see that scene on its own, but when you see the scene strung together with the whole movie suddenly the scene feels ultra long or feels incomplete or you feel like you don't want that emotional payoff at that point of the film.

It's not until much later in the story, when another young woman named Éponine (Samantha Barks, by far the best singer in the cast) sings of her own vision of fulfilling what is in reality an unrequited love, that the film reaches the emotional peak of the scenes with Fantine (A montage of preparation at the midway point is rousing, though).

His pointedly off - kilter direction subtly establishes the immediacy of bored chocolatier Hermann Hermann's (Dirk Bogarde) rapidly unraveling emotional well being, and in almost each scene, Fassbinder instantly establishes arbitrary oppositional relationships between Hermann and commonplace objects in ways that Stoppard's script only hints at.

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.

I wanted at least one or two scenes where I felt an emotional punch in the gut but never got it.

There was one very emotional scene for Frances that made me pull Martin aside and tell him I thought it needed to happen at dusk rather than any other time of day.

Action fans may enjoy the prolonged set pieces, mostly set inside and on top of fast - moving trains, though at 2.5 hours in length, there is a similar tedium factor to them that also marred the Pirates flicks, especially as the lack of emotional connection to the sketchy characters makes these scenes ring hollow underneath the impressive CGI elements.

We'd be foolish not to give some sort of shout out to other terrific scenes throughout the year, like the hilarious funeral sequence in Li» l Quinquin, which had us doubled over from laughter; both the border crossing and night vision sequences in Sicario; the ending of Carol, which should get an emotional response out of even the coldest souls; the opening long take in Buzzard, a painfully funny experience much like Entertainment; the bonkers final act of Jauja; a scorching scene from The Fool where the town mayor lays into her corrupt staff; everything that happens at Mamie Claire's house in Mistress America; the intense argument between Gerard Depardieu and Jacqueline Bissett in Welcome to New York; the tightrope sequence in The Walk, and much, much more.

By the time the characters and audience have arrived at this scene, so much emotional turmoil has been quietly digested.

Cooper is an old hand at creating individual scenes that evoke characters» flaws and emotional backstories through a minimum of words and gestures, but the bigger picture seems to elude him.

In fact it's Ruffalo's back - to - back scenes late in the movie that finally elevate «Spotlight» to the emotional level it needed to be at throughout.

Page's subplot is the most tender, and a scene in which McNairy attempts to console her without encouraging her (which may have been at least partially improvised) achieves a level of emotional authenticity that the rest of Touchy Feely sorely lacks.

The Last Jedi also has perhaps the best lightsaber battles yet, some fan service that doesn't overly distract (Chewbacca has some very funny and fist - pumping scenes, and Yoda even gets a good line and a fine cameo, too), a real emotional punch and at least two epic space battles.

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.

Another frustration within the film is constantly missed opportunities to pack emotional punches and the film miscues moments far too often with only a scene between Bale and Saldana at a bridge encounter showcasing the emotional heft needed to do so.

Their arcs are too blunt at times and wishy - washy at others, but both actors have the parts down so well that they manage to sell just about everything from the amusing banter to some particularly intense emotional scenes.

In an early scene, Wiley sees a girl at a bus station and they share an emotional connection, just by looking at one another and not even speaking.

Kuri, at age 14, is one of the best things about the picture, as his emotional scenes with his parents and Father Christopher (a brief appearance by Peter O» Toole, «Troy «-RRB- are heart - wrenching and horrifyingly real.

Bahrani's style is gripping as an emotional thriller, at times reminiscent of Asghar Farhadi, but the best scenes involve the sneaky legal maneuverings and machinations of Rick's get - rich - quick scheme.

In its only attempt at an emotional touch, Felt has awkward scenes with Audrey, and Lane is completely unnecessary as his wife who is in some funk over their daughter lost to a counterculture movement.

YAMATO: Some actors use their own emotional experiences to fuel a performance and submerge themselves in their roles 24/7; others can walk away at the end of the scene or the day unscathed.

The lack of details can be distracting at time (it takes a while to learn why James and Mary aren't happy), but the story incorporates enough emotional scenes to help overlook these flaws.

A new international trailer for Jay Roach's biopic Trumbo reveals a few glimpses at new scenes, but changes up the emotional tone of the film as compared to the previously released trailer.

In the haunting triptych of fragility and identity Moonlight, she is Teresa, the drug dealer's girlfriend with a consoling heart and keen emotional radar; in Hidden Figures, she's Mary, the youngest member of a trio of unsung female African - American mathematicians working behind the scenes at NASA to keep John Glenn's Mercury capsule from collapsing like a soda can on launch and re-entry.

There's a scene where one of these emotional electronic songs plays on a stereo at a party.

There's one scene in particular, after Randy officially retires to take a job behind the deli counter at the supermarket, that is so telling of his emotional journey that it doesn't even matter that you already know how it's going to end.

Obviously, we want to scare the player, but we'd also like it if the player were to cry at some of the more emotional scenes.

Sound effects include walking and running on different surfaces such as metal or water, jumping and double jumping, while you can hear the Fallen and Red Legion enemies communicating as the rather ominous sound of incoming drop ships full of enemies to replenish the numbers of the Fallen and Red Legion that you have just defeated, weapons being fired at enemies and enemies firing back, explosions and ambience; accompanied by cinematically emotional music that drives the mood of the scene.

Even the emotional scene where Lillie leaves for Kanto at the end?

Not only does one need a travelogue writer's skills just to describe the scene, the sense of amazement at experiencing a well - crafted virtual reality can be a very emotional moment for which words ought to fail.