Sentences with phrase «emotional scene where»

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

«Room» actress Brie Larson dissects the emotional scene where she is reunited with her on - screen son after he escapes and gets help.

Their relationship is endearing and destructive and there's a really intense emotional scene where Pace confronts his continual manipulation of the girl which has lead directly to her injury.

Not exact matches

It's these scenes which have the most emotional truth and where the film's most successful portions lie, especially when Streep and Jim Broadbent light up the screen with a portrait of a particularly British and unfussy kind of romantic longing.

On Rosemary Avenue, the scene is similar; a school for kids with learning, social and emotional needs sits less than a mile from where the sex offenders now reside.

This delight leads to tragedy (see: the predictable holiday on the beach scene, where Annie cavorts without properly warm clothing, apparently leading to her illness, a scene that is collapsed into parents» feelings of overwhelming guilt), a logic that is profoundly emotional, and hard to reconcile with religious faith (Innes offers up the explanation that «God works in mysterious ways»).

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's all on the page in terms of dialogue, but the deer scene, for instance, or the scene on the phone near the end, were the moments where I felt she's allowed to be more emotional than anywhere else in the film.

While the battle scenes can only be viewed as impressive from a visual standpoint, where the film finally shows its fatal flaw is in the utter lack of emotional grip, as characters live, love and die, and yet no tears are shed among a viewing audience despite following these hearty heroes for over eight total hours of film time.

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

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.

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.

Their film features perhaps the first action scene we've ever seen where we cared more about what was happening in a character's relationship than how many kills he was about to rack up — and then, once it was done, felt simultaneously exhilarated by the visceral power of what was happening immediately, and the emotional stakes of what that set piece took him (and us) away from.

When the emotions overtook you Saoirse Ronan: «For me, there was always one scene that stuck out I got very emotional with, where I was drowned in the scene for quite a long time: It was the barley field scene towards the end in which Mr. Harvey's victims come to take Susie to heaven.

The film hits close to home and the scene where they [Andrew Garfield and Laura Dern] are being kicked out of their home was very emotional.

Such emotional weight is conveyed in a scene where Mowgli has to bid adieu to the mother who raised him and in another sequence where his heart gets broken by Balo.

He makes the small moments count though: the scene where he whispers goodbye to his eldest daughter is very emotional.

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

Where M'Baku easily could have become a hypermasculine character relegated to the margins of fight scenes and one - dimensional villainy, Duke's sly charm paints a far more complex emotional landscape.

The scene in Grace's kitchen where she is attempting to take the potassium cyanide has intense psychological and emotional richness for stage or screen.

Patricia Albers's new biography of Joan Mitchell, Lady Painter, follows the artist from her privileged, WASPy Chicago upbringing through her tempestuous years on the 10th Street scene to her time spent in France, where she would face a gradual physical and emotional decline but probably achieved her most lasting artistic triumphs.

Their work is super intimate and deals with domestic scenes where the figures are integrated into their environment, and that's where the emotional or psychological charge of the paintings come from.