Sentences with phrase «face in a few scenes»

A woman smacks her young daughter on the head and face in a few scenes.

Not exact matches

The former «Alias» star who plays a U.S. government agent in the upcoming movie «The Kingdom,» told People magazine that filming the fight scenes «was so down and dirty that [I] had scratch marks that we had to cover up on my face for the next few days.»

Lots of non-violent, non-gory but otherwise unsettling scenes worth mentioning: many «jump» scenes when people or objects startle others; we hear some noises during the night in many scenes (creaking doors and floorboards, screams, eerie whispers, doorknobs turning, pounding at doors) and doors slam shut as people run past them; we see eerie carvings and sculptures throughout a house, a maelstrom and sculptures come alive and scream and a skeleton sits up abruptly; a ghostly face is seen at a window and in a ceiling, windows become eyes, ghostly children are seen a few times (in one scene, a ghostly baby from a sculpture crawls under the sheets as a woman lies in bed) and a woman's hair is braided by invisible hands.

We see a very bloody room several times and in a few scenes we see some blood on people's faces, hands and clothes.

Dutch plays a prominent role in the trailer, having his name dropped, getting a few seconds of full - face screentime and appearing in multiple scenes.

Special effects contribute to scenes that depict people being killed in highly creative ways, like being semi-integrated into cement walls and floors with only a few body parts and faces sticking out.

To underline the point, director Matt Reeves frames a sequence of Gary Oldman shuffling through family photographs on his iPad, the glow from the screen quietly lighting the actor's tearful, joyful face; and then repeats the trick a few scenes later, with an entirely CGI character delivering just as complex a scene in total wordlessness, with a different glowing screen and different family pictures.

There are actually quite a few familiar faces (many with ties to «Life in Pieces») that appear in only one or two scenes: Chris D'Elia, Ravi Patel, the aforementioned Retta, Majandra Delfino, Jesse Williams, Colin Hanks, Brooklyn Decker, Erinn Hayes, Jamie Chung, Hannah Simone, and Angelique Cabral.

Olivia Colman and Rory Kinnear are under - used, adding fresh faces to scenes, but short of a few strong moments to make their appearance in the cast list worth mentioning.

Even though the characters face the threat of death for man and monster alike, there is still enough time for an unmarried couple to exchange a few kisses and sneak off together in a scene where sexual activity is implied.

Add in a great cast (I particularly liked Samantha Morton, who played the psychic Agatha... her scenes were very interesting, and she did a good job conveying her terror at facing the world of the present) and you've got something I was pretty happy shelling out a few bucks for.

Alfredson shows less visual flair in Fire, but the Swedes are still willing to rub our faces in some cruel, brutal violence (cutting down the gratutious rape scene to only a few frames) and adept at building more piercing, mystery - cracking tension.

Director James Wan's choice to digitally recreate Walker's image for the film's last few scenes, using two of the actor's brothers as body doubles with Walker's face superimposed on their own, points toward a future in which a performer's ongoing biological existence may no longer be required in order to synthesize his or her presence on screen.

Case in point: the most well - regarded critic of Latin American cinema stateside is American B. Ruby Rich, who may well be the face of New Queer Cinema criticism, but who was one of the few English - language critics paying attention to the changing Latin American cinema scene since the seventies.

Said experiment asks if a panel of Cannes jurists can overlook a film's glaring structural problems, general listlessness, uneven tone, and unfocused ideas in the face of a few scattered scenes of unbridled genius.

I've run into a lot of familiar faces from the Texas convention scene, but I've also seen a number of folks from much further afield, including a few I haven't seen since that last WorldCon I went to in 2000.

The housing market has seen better days, and sub-prime mortgage is now a household name with negative connotations, there are a few shiny spots in the market but to the thousands who face a home foreclosure the whole scene is dismal.

These can be subtle, like a vague shape in a few scenes that's easy to ignore if you aren't looking for it, or they can be right in your face.

«This year the Newd Art Show really added another dimension to the weekend, since it highlighted some of the many strong galleries in the neighborhood and brought in a few others from surrounding areas to create a hub for the commercial face of the area's art scene.»

For instance, Night Soil / Fake Paradise (2014), Melanie Bonajo's video installation, depicted scenes of Western women, and a few men, tramping through the woods in «primitive» costumes or preparing for a staged photograph, all wearing a pastiche of Amazonian props like bananas and blue face paint.