Sentences with phrase «get much dialogue»

Kerry Washington doesn't get much dialogue to work with, but her presence is soothing, her innocence going a long way in evoking empathy for she and her husband.

He doesn't get much dialogue and serves in this moment to transition us to Rey.

Not exact matches

I agree that there is much that needs to be dialogued about regarding the realm of Christian music / worship songs and I applaud you for addressing the topic; but I think you'll get more meaningful dialogue with an atmosphere that is more respectful and less accusatory.

The issue has gotten so much attention for its social justice implications that even Pope Francis has made it a key part of church dialogue.

While Tarantino's dialogue borders on the verbose at times, Di Caprio dispenses his words with an instinctive sense of just how much weight he needs to give to each one to get the most out of them.

It shouldn't come as much of a surprise that Fred gets most of the offensive dialogue and ends up in most of the worst situations like being stuck in a bathroom with a party - girl afflicted with a gastrointestinal disorder.

Fredrik Edfeldt's feature debut is the type of film I long for and rarely get: a beautifully shot film which captures as much emotion and story from silence as it does from any dialogue.

If you're the kind of moviegoer who got restless during the more dialogue - heavy sequences of «Death Proof» or «Reservoir Dogs,» you may find that there's too much talk and not enough action in a movie that teeters on the three - hour mark.

I liked the discussion of how a certain actor was conveying so much with his eyes that his deathbed soliloquy got whittled down to a single line of dialogue; it's these signs of cultivated wisdom that make Affleck easier to listen to than your average Park City protégé.

What a tedious film.Over acting, wobbly plot, dialogue at times pure drivel and a laughable ending.It really was poor.The film goes straight into a Cul de Sac and can not get out.Way too much nudity from the metro sexual looking Tilda Swinton.Her androgynous body quite turned my stomach.A redeeming feature was the glorious sunshine and powerful light of Italy.The film meanders, wobbles and finally falls down.Older people like Swinton and Fiennes should really keep their pants on at all times.It is acutely embarrassing when the oldies need to do so much nudity (l suspect it is to appease their insecurity that they might not be physically desirable anymore) Horrible attempt at film making

(You can also predict the order in which they get killed off, based on how much dialogue each one has.)

While delivering good performances and enough choice laughs to stay afloat much of the way, Get Smart suffers from a laborious plot, excessive length, and an unevenness of tone that favors a violence that jars with the light banter of the dialogue, compounded with an unconvincing romance that brews between 86 and 99.

The dialogue is witty and original, but the story and plotting (which don't get mentioned as much) are similarly refreshing.

My only dilemma is that since the movie is filled with so much hard hitting dialogue, you find yourself getting a little jaded near the middle of the movie.

Leonard Maltin mentions how some would consider these shorts as getting stale due to the lack of dialogue, but counters that claim with his own (and this reviewer's) marvels at how much can be said without words.

He doesn't» have a lot of dialogue for a good majority of the film (getting your tongue cut out and your femurs filed down into Walrus tusks will do that to you), but he conveys so much through his emotions and body movement that it is impossible to become invested in his arc.

The bad dialogue and shameless product placement are to be expected, and the dynamic between the three lead human characters is pretty annoying, but Bay can't even get the action right in this one, settling for unintelligible set pieces that evade logic almost as much as the story.

Add in Raquel Welch as one of the Seven Deadly Sins (Lust, naturally), a lot of great dialogue, and an authentic 1960s London vibe, and you've got a film that ought to be touted much more than it is.

Keaton doesn't get much to chew on as the nefarious head of OmniCorp, while others like Michael K. Williams (as Alex's partner), Jennifer Ehle and Jay Baruchel only get a few lines of dialogue each.

Given the nature of the movie, this could have very easily been a three - act play, as we get much more dialogue than action.

Showgirls (1995) This much - reviled film got new life as a midnight movie in 1996: Audience choreography and mimicry of the camp dialogue ensued.

Similarly, we've spent much of these last few weeks gradually losing assurance that the beautifully realized characters, brisk rising action, incisive dialogue, and political resonance of both Greta Gerwig's script for Lady Bird and Jordan Peele's for Get Out will on their merits be able to stave off Martin McDonagh's work on Three Billboards Outside Ebbing, Missouri.

There are occasional technical glitches (sporadically duff edit points, awkward framing in a few of the key dialogue scenes) but you get the impression that Favreau doesn't care about proficiency as much as he does vibrancy.

Much of «True Story» consists of dialogue scenes between Michael and Christian in which the two play cat - and - mouse games to get what they need from each other.

Although the script encompasses issues of love, life, and death, not much dialogue gets spent on the usual deep discussion associated with such topics.

There isn't much dialogue but what we do get is engrossing, and it never feels overbearing, that's what makes it work so well.

With such earnest attention to detail, and so much detail to attend to, the script gets clunky at points, and the exposition isn't always handled elegantly, particularly in dialogue scenes.

Good actors — we also get the usually wonderful Michael B. Jordan (Fruitvale Station) as the new Johnny Storm (Dr. Storm's biological child)-- turn in terrible performances, but who could possibly do much of anything with the inane dialogue with which they are saddled?

The dialogue is all text based which I found pretty jarring considering we've got voice acting in pretty much all other games... the only somewhat reasonable excuse I could think of was that with the expanded roster in this edition (the largest roster so far) perhaps they didn't want to have the odd experience of some characters voiced while others weren't (or at least not by the actual star... and given some are no longer with us it would be a bit hard).

First off, even beyond Amini's ability to convey so much about the driver with so little dialogue, he's got a fantastic sense of structure.

For example, if administrators identify that teachers engage in too much «sit and get» lecture, then the learning intention for the faculty might be to understand the value of classroom discussion and dialogue in student learning.

It takes just as much talent to create a visually amazing, fun to watch action movie as it does to write a sparkling script or flowing dialogue, and Dredd doesn't get the credit it deserves.

If you've already put 80 hours into Andromeda like me, these aren't much help, but hopefully newcomers get fewer time anomalies and glitched dialogue.

Again, with Mafia 3 being an open world game, a lot of it can be spent behind the wheel of a car as you travel to and from different parts of the city going from one objective to another and while it isn't so much of a problem early in the game, the lack of a fast travel option becomes quite a hindrance as time goes on and the further you get in the game because at times it will force you to travel huge distances to speak two lines of dialogue with someone for example and then makes you drive all the way back to where you were originally, which becomes a bit of a chore, but the car handling isn't bad and it almost feels like you are driving a car from the 60's as it feels heavy and limited as you manoeuvre certain cars around a corner.

You can crank up the mania to 11 by using the left stick to fast - forward the audio turbo chipmunks - style, which in conjunction with the subtitles option, allows you to get through the dialogue much quicker.

There's a throwaway plot involving treacherous Russians, a rival ace pilot and a twist that literally gets spelled out in dialogue with about as much finesse as an elephant ballerina, just don't go in expecting to be fighting off huge flying fortresses in this Ace Combat title, though.

This gets really annoying because it's pretty much impossible to listen in on every bit of dialogue in the game so you can know what the proper security code is at any given time.

The further you progress through the game the more apparent this will be, but if you ever find the optimism a little too much in the beginning, just look to Zeri's lines — in many ways, he is the voice of the old, jaded fan who is tired of all the happy - go - lucky dialogue and just wants to get things done.

The only problem that pretty much every game that is quite new with a large fan - base suffers with is server issues and this is going to get better and better as the game further develops so i am not going to rant about how the only problem i have came across is so bad as the story makes up for it because the quality is amazing as the animations are beautifully done and the feeling of playing a story that isn't too driven on dialogue but more actions and feeling that you are destroying a castle and are making a difference within a massive scale war is greatly satisfying.

It's not just the witty dialogue, but also details from the world, unexpected consequences to choices, and even quests and gameplay — such as an escort quest where Geralt must guide a goat with a bell, much to his dismay; or the monster contract that requires him to gets piss drunk to attract a vampire with a fetish for the inebriated.

I hate to complain too much but it just gets in the way of what could have been a more polished arcade style game with similar but more tightly designed mechanics if they developer would have honed their attention, focus, and resources away from dialogue and plot elements that are quite frankly only in the way.

Players will also get a new option for speech volume, the Totals menu will be sped up, cut scenes will be skippable, dialogue can be sped through by holding a button and so much more.

But with emergent narration, where much of the story is always implied and is always in - game — told through ambient dialogue, through environmental change or through the mechanics themselves — the sense of immersion can always be maintained which is after all a critical requirement if games need to get their players invested in the story.

After getting through the majority of Oxenfree's 4 - 5 hour lifespan, I found myself getting a little exhausted with the dialogue options and started to feel like they weren't making much of a difference.

I'm open to that sort of dialogue, but I don't get much from it.