Sentences with phrase «emotional scenes like»

Not exact matches

It sounds like a really emotional scene, but if you see the movie, it was definitely intended to be a joke.

Broken Age tries to end on a heartwarming final scene, but its an ending that it doesn't feel like the game earned, with Act 2's stagnant characters never maturing or developing in any way that would give the scene the emotional weight it seems to think it evokes.

The Sakaar scenes feel like a natural extension of Waititi's work thus far, from Flight of the Conchords to What We Do in the Shadows and Hunt for the Wilderpeople — whimsy, with a healthy dash of emotional resonance.

Powell gives the scene terrible beauty — the wind whips the cabin, the fire flickers around his face, the clouds have a texture so palpable they look like you could step out into the sky and walk to heaven on them — and an emotional power to match.

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.

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.

But what helps every emotional scene stay afloat is the score by Son Lux; reflective, longing with sad guitar drones that feel like cherished memories scattered like autumnal leaves in the wind — we'd argue the score is the movie's unsung MVP.

She is currently on the big screen reuniting with Du Vernay for «Selma» — and much like Tessa Thompson makes an emotional impact in the few scenes she has on screen — and can be seen on TV in the Ioan Gruffud series «Forever,» a show we've as yet not caught up with, but her stint on «OINTB» has kicked her up several profile levels to the point that she'll hopefully be headlining something soon.

For a moment, let's just set aside all the controversy surrounding this year's Palme d'Or winning film — whether it's the graphic sex scenes, or the allegations of emotional abuse of lead actresses Léa Seydoux, Adèle Exarchopoulos and crew members by their director Abdellatif Kechiche — and consider that this just looks like a damn good love story.

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.

He is a master conductor who plays scenes like symphonies of feelings, continuing long past the narrative point has been established to express the emotional intensity of the characters and situations, and to add moments of pure grace to the mighty drama.

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.

If Stanley Kubrick had made a film about American slavery, it might have looked and moved somewhat like this one, always thinking about shots as shots and scenes as scenes and themes as themes, yet always tying every element, whether central or marginal, to the film's emotional spine: a tale of what it means, physically, to be enslaved as opposed to free.

Laura Linney is the only actor who feels like she doesn't belong, stuck in a thankless role as Sully's wife Lorraine, whose few scenes with Hanks over the phone lack the emotional oomph that was intended.

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.

Blanchett is also strong, though she's given a boatload of showy scenes, and especially towards the end as we watch Mapes become an emotional mess, I felt like I was watching an encore «Blue Jasmine» performance.

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.

Bates lights up her scenes, feisty yet down - to - earth, and has one emotional crescendo that feels like it belongs in another movie.

In the final scenes, a brilliant mix of contrivance, intimacy, distance, and dramatic closure peered into like a voyeur, questions of performance and spontaneous action are tossed to the wind in a moment of emotional power.

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.

(The scenes of affection between the two leads often have the physically imposing Flynn frequently resting his head close to Davis» bosom, with legs sprawled across the floor like an adoring puppy; it's an unusual stance for a male Hollywood star, and the emotional vulnerability of Flynn's performance must have boosted his female fan - base.)

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Truth be told the quality of both the writing and main narrative thread is all over the place, bouncing madly from genuinely beautifully written moments with emotional impact and outstanding twists sure to leave you with your jaw on the floor to scenes with clumsy dialogue and ideas that just didn't work out as well as I would have liked, though exactly how much of this inconsistency can be put down to translation issues is hard to judge.

There are certainly other notes that we're trying to hit as well, and the reason we did this is always to allow the player to experience that emotion — to give them a chance to hook into the emotional tone of this scene and react to it and feel like they want to accomplish something in the game as a result.»

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.

So for the cutscenes, if the scenes signaled an emotional turn for Aloy, her voice and permutations of Aloy's Theme (as heard on the main menu) seemed like a good choice.

As with all the 3D games, though, there's a greater emphasis on emotional scenes between characters like living tree musicians, Link's own grandmother and sister, and even the lost demigods that failed to protect this Hyrule long before the game started.

That's not to say that Uncles don't love their nieces and nephews dearly, but the way Ubi's writing team setup many of the emotional scenes it always felt like Aiden was more than just an Uncle or a Brother to his Sister Nikki and her kids.