Sentences with phrase «for dialogue scenes»

Active and scary, but properly modulated for dialogue scenes, this is a reference - quality audio mix.

Not exact matches

He frankly discusses the dangers and demands that Pentecostalism presently faces, and examines possible future scenarios in the Brazilian religious scene, calling for dialogue and relations between the historic Protestant and Pentecostal churches.

The script of the film stays the same but the director — the histone mark — can choose to eliminate, slow down or speed up certain scenes or dialogues, altering the film for better — cancer cell death — or worse — cancer cell survival.»

No recent movie about The Troubles gives the audience the emotions, the pure hatred between the two forces, with the impact of «' 71,» the credit going not only to Jack O'Connell, known to us mostly for his role as the rebellious prisoners in «Starred Up» (never mind that the dialogue was largely indecipherable), but also to director Yann Demanage for setting up realistic seeming fight scenes, a series of breathless chases, and a sense of neighborhood that Demange found not in present day Belfast but in the English town of Sheffield.

Rated PG - 13 for crude sex - related humor and dialogue, alcohol and drug - related scenes, all involving teens.

Good: Starscream is a lot cooler in this movie, Best computer - graphics for any movie to date, Original Optimus voice, Bumblebee vs. Barricade scene was awesome, Decent story, but the Unicron story is a million times better Bad: No Hot Rod or Soundwave, Shia LeBeouf, Ending, Futile attempts to connect to classic scenes, lines and concepts, No Stan Bush soundtrack, Some immature humor ruined a lot of the movie for me, Poor dialogue I really expected a lot from this movie and am very critical about my feelings towards it - Overall Michael Bay made a good movie, but he made it appeal to the masses (immature jokes and a lot of action) and it gave up a lot of other crucial aspects to the story and quality of the Transformers franchise.

Like most of the more notable critics have pointed out; no personality is to be found among the Decepticons (the least they could've done is to synthesize StarScream's rasp to throw the fans a bone for God's sake), an overly active camera and «busy» robot models make some action scenes little more than a confusing blur, and goofy, unfunny dialogue permeates the story.

Rated NC - 17 for a scene of explicit sexuality.; Rated R for a strong sex scene, strong language and sexual dialogue, and for a violent image.

Watching «The Room» on your own, and struggling through the banal dialogue and non sequiturs, the dreary sets, the elevator Muzak score, and the long, cringe - inducing sex scenes in which Wiseau bares his all for our appreciation isn't funny but sad.

Rated R for strong language, including sexual dialogue, and for some scenes of sexuality and drug content.

For Miyazaki writing doesn't involve scripting dialogue and scenes, but drawing the storyboards.

It feels like every script - reader in the Italian - Swiss - German - Albanian - Kosovo coproduction cut out a line of dialogue in each scene, leaving behind an irritating silence and an enigmatic puzzle for the audience to second - guess.

Picking up for the late Sally Menke, editor Fred Raskin replicates the precise in - and - out - rhythms she managed in Basterds» dialogue scenes; the cutting never feels rushed, even when we're ping - ponging between multiple perspectives in a dinner - table showdown that employs DiCaprio to deliver one of Tarantino's signature extended soliloquies (complete with a faux Yorick skull).

There have been films more implausible to be sure, but the successful ones managed to move briskly, feature more interesting characters, or crackled with smarter dialogue that Man on a Ledge ever does even for one scene.

Outside of Vinson and some choice scoring / music selection that, along with its story, evokes some of the memorable 1970s work from John Carpenter (Assault on Precinct 13 and The Fog come to mind), You're Next is a fairly dreadful choice for a scare flick, with ineffective acting choices, a laughable premise, and no real surprises offered to anyone who actually pays attention to the poorly written dialogue that occurs between scenes of violence.

If there is a disconcerting aspect for some audiences, it's in Condon's decision to include a few scenes where the dialogue is sung instead of spoken.

The future scenes also contain some good action beats that bookend the 1973 section, but because many of the featured mutants (like Bishop, Blink, Warpath and Sunspot) are appearing on screen for the first time with almost no introduction, you don't really care what happens to any of them, especially when the actors only have about three lines of dialogue combined.

It's not surprising that the trailer for Columbus plays up its most conventional elements, the scenes (and dialogue exchanges) that make it seem like an ordinary indie melodrama about two strangers whose lives intersect during a confusing time for both of them.

On the one hand, it indulges a penchant for dialogue that's occasionally vulgar (shit - stained balls indeed) and consistently profane (check out the string of swears ad - libbed by star and co-writer Steve Carell in his big did - my - own - stunts chest - waxing scene).

MPAA Rated: R for strong sexuality, sex - related dialogue, language and a scene of drug use Running Time: 103 min.

For as much as fans of Tarantino love his scene - chewing dialogue (even if people don't really talk like that in real life), there's almost too much in «Death Proof.»

The music occasionally, almost out of luck, sets the right mood, but most of the time just makes for awkward dialogue scenes and a composition clash of sound and visuals.

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.

Though best known for her arch dialogue, Cody has a knack for location, setting stories in sharply sketched places and clearly defined moments in characters» lives — qualities that sometimes make Ricki And The Flash feel like a throwback to the minor - key American filmmaking of the 1970s, when Demme first arrived on the scene.

She only strains for effect when she's required to be angry, though it probably also helps that Soderbergh opted to ditch most of the dialogue he wrote for Ann and Graham (James Spader) in their final scenes together.

As in all of Tarantino's previous films, scenes exist here solely for the sake of dialogue.

It starts off strong garnering laughs for the blunt dialogue Streep gets to spew and it's fun to watch her, Kline, and Gummer get high in one scene.

Levels sound good for the most part, but there are a few scenes that are a bit hard to hear the dialogue due to the surrounds.

Playing the younger version of Michael B. Jordan's nuanced villain for only a few minutes, the young lad was only on screen briefly at the start of the movie, in a flashback scene and for a longer - speaking part in a poignant dialogue in the ancestral plain (trust us, it makes sense in the movie).

He puts his gritty staple on some key and entertaining scenes including an opening that includes the sexy Cruz being pleasured by manly Fassbender however, those are not enough to make up for the film's obvious missteps that include mundane dialogue and unclear character beats.

MPAA Rated: R for strong sex scenes with explicit dialogue, nudity, drug use, language and violence Running Time: 155 min.

Take away the love it or hate it score (it's jarring, but in its own way, it almost feels like it's a character itself) and the long stretches of dialogue - free footage (again, the praise for these scenes reeks of movie snobbery to me — five minutes is good, twenty minutes is puffed - up filler), and what you're left with is a film that showcases the downward descent of one man.

There's a wonderful tendency for scenes to switch moods within a single line of dialogue, especially those between mother and daughter.

With the possible exception of Murray, whose dialogue exchanges come off as a bit flat in a few scenes, every actor seems to have wrapped their arms around their role in a jealous expression of loving affection for that part.

He expertly synthesizes influences (he writes dialogue like Cassavetes, shoots like Scorsese, and embodies Altman's generous compassion for human life) without getting smug or derivative, blends humor with nerve - shredding tension (the scene at Rahad Jackson's is virtuosic) and plumbs the depths of the darkness of which men are capable.

His entry, Planet Terror, is the sort of shoddily plotted excuse for madcap violence, gore, and carnage that should be expected, while Tarantino strangely tries for the high road, making the focus of his Death Proof its laborious dialogue scenes, which are at least fortunately topped with a nerve - wracking car chase.

Which leads me to X-Men's dilemma that its dialogue scenes are more memorable than its noisy, effects - studded ones, the same for which can not be said of the mawkish smash The Perfect Storm.

The standout scene of the brothers» semi-affectionate riff on 1950s Hollywood throws the brunt of their combined talent for writing and deadpan timing into a two - man vaudeville routine of words and manners, in which a sophisticated director (Ralph Fiennes) and a bumpkin - ish actor (Alden Ehrenreich) struggle to get through a single line of dialogue: «Would that it were so simple.»

The sharp dialogue, impressive CG animation and cleverly constructed action scenes make «Albert» a must - see for all ages.

Audiences will sit on the edge of their seats, waiting for some interesting revelations, unpredictable fight scenes, telling dialogue, unique camera angles, or anything to sustain the movie, but they will wait in vain, because there is none of that.

This is about all the movie has going for it, because as if it wasn't bad enough that Steele and Grey's relationship has all the depth of a kiddie pool, the two actors have very little chemistry and their interactions, particularly in dialogue scenes, are forced and mechanical.

The first dialogue scene sets the tone and direction for the film.

Shot with all the expressive minimalism of a Dardennes film, the last quarter of Custody, from the dialogue - free party scene to the violent conclusion, is gripping beyond compare, the only film this year during which I forgot to breathe for a good portion of its running time.

«Mr. Mom» will always have a special place in my heart for one scene that has two very funny, quotable bits of dialogue about half a minute apart.

Timberlake delivers Allen's dialogue as if he has no context for anything he's saying — he says «Eugene O'Neill» like he just googled «Eugene O'Neill» — and he's totally obliterated in the scenes he shares with Kate Winslet.

Like Smokey and the Bandit, The Concrete Cowboys works when it does because of the down home country dialogue and spirit, with Selleck and Reed riffing off each other energetically for a few yuks, while the country music scene plays prominently into the entertainment.

The jokes land harder at 3 a.m., it's a great movie to watch with friends, and there are scenes and even lines of dialogue meant for repeat viewing.

One piece of advice, though: if you can, watch «Repo Man» in its extended, censored for TV version: the Cox - approved «flip you melonfarmer» dialogue is priceless, and the extra scenes are some of the best in the movie.

While Fields is still held hostage by the underwhelming story progression and boring scene work in The Raven, Evans emits just enough charisma in the role to successfully keep things going during a number of dialogue heavy scenes that would have otherwise been cause for eye rolling.

Chris Terrio's solid screenplay delivers many dialogue driven scenes but Affleck keeps things moving at a frantic pace and not for a second, does the film ever get dull or drawn out.