Sentences with phrase «little dialogue at»

While Darkest Hour is almost non-stop Churchill talking, Dunkirk has very little dialogue at all.

Not exact matches

Given the latest medical data concerning the distinct characteristics of the fetus and its ability to survive outside the womb at a startlingly early age, it is little wonder that in the past few years several of the denominations that once took a more open position on abortion have retreated somewhat: the Presbyterian Church (U.S.A.) is now studying the issue; in a 1980 statement on social principles, the UMC moved to a more qualified position; the Episcopal Church and the recently formed Evangelical Lutheran Church in America seem to be in the process of toning down their earlier positions (or those of a predecessor body) The Lutherans defeated a resolution in their 1989 Assembly which would have been consistent with the liberal position of the LCA predecessor body, and a 1988 Lutheran - Episcopal dialogue report refers to the fetus as «embryonic humanity» with claims on society.

This may all seem a little remote, although Seyyed Hossein Nasr of the Center for Muslim - Christian Understanding at George Town University in Washington says, the basic element in dialogue is «faith in God.»

But the question of how to interpret the doctrine of the universality and unsurpassability of Christ in the context of inter-religious dialogue is now with us for good, and the fact that it will not go away means that we may be at least a little closer to an answer than we were before.

From my own peculiar point of vantage I sense that many Christians may be missing something — a message hidden in Scripture, in the words of the church fathers, and in the deliberations at Vatican II — without which our attempts at interfaith dialogue will be of little or no avail.

So, for you comedy buffs out there that really are intent on seeing this, hey, who's going to stop you (maybe your parents, I suppose), but believe me, the lack of layers in the story, the nonsensical dialogue, and the overall «wow, I can't believe that I just saw that while sitting in a movie theater» factor, probably will leave you at least a little disappointed.

In part a historical recreation, The Witch's reverent dialogue (lifted from journals of actual period appropriate settlers) gives it an otherworldly feel that's amplified by the religious fundamentalism at the core of Roger Egger's dingy little feature.

While I love the way Gerwig and Baumbach's rapid - fire dialogue moves and breathes, it's difficult to not notice characters don't really talk to each other as much as they talk at each other, divulging random personal facts with little to no follow up.

With a laser - straight plot, improbably muscular cast and endlessly quotable (if at times a little stilted) dialogue, this is a plain - speaking, quick - shooting romp that's perfectly paced and masterfully lensed by DoP Donald McAlpine.

Cruise sold his character as best he could with as little dialogue as he had at times but Kurylenko was down right horrible.

It has everything you expect from one of his films: poetic, sometimes ridiculously so, voiceovers, long shots of nature being nature (or not), very little dialogue and a way of looking at a familiar subject that I, at least, had never quite thought of before.

Personally, we'd like to thank the trio of Gary A. Rizzo, Gregg Landaker, and Mark Weingarten for doing all they could within their power to drown out the Nolan brothers» pompous dialogue in favor of Hans Zimmer's IMAX - sized music cues, but even we'd draw the line at giving them the actual trophy, and there's little doubt that the Academy's sizeable ear trumpet - hoisting constituency will too.

«Wildlike» moves along at its casual pace with minimalist dialogue and little melodrama: in fact an encounter with an uninterested bear and a sighting of a horny uncle by the niece he is supposed to be nurturing provide the only visceral excitement in the drama.

Although he mostly shows it with snippy dialogue and rigidly controlled schedules, Daniel Day - Lewis» Reynolds Woodcock is a fussy little dude, something made especially clear in a deleted scene that Anderson recently released to promote the film's upcoming home release, showing the Woodcock siblings descend from prodding at each other into a full - on food fight.

The inconsistency in dialogue subtitles (whether they're displayed in large text at the bottom of the screen, or off to the side with the NPC image) is a little weird and confusing, as is the inconsistency with regards to whether or not you need to press a button to advance the dialogue, but all dialogue is subtitled.

The most fascinating thing about WALL · E is its remarkable ability to retain your attention despite there being little dialogue (at times, no dialogue), considering it is a «kids» film anyway.

As a result, the dialogue has a little more polish and depth than the usual Stallone anti-zingers («Time takes everyone out,» Rocky muses at one point.

Just like the first film, Before Sunset is driven by its dialogue and locales, and for those with little tolerance for films that don't showcase a chase scene or an explosion at five minute intervals, you may find it talky and inconsequential, but at least it's only 80 minutes in length.

«The script has very little dialogue but intriguing sex and intimacy which scared me and excited me at the time,» said Mullen.

As much as it is a little predictable, it feels fresh in part and the dialogue (some of it improvised) zips along at a good pace.

So as your character explores this world and engages in a variety of missions and battles, you also come across a very eclectic group of characters that add to the overall experience of the trilogy but just be wanted that the dialogue can be a little heavy at times.

Dialogue showed a little edge at times, but not much, and the speech appeared very good for the age of the material.

At first his little dialogue can throw the flow off a bit, but it matches his action and who he is.

When you look at it as a whole you have a fairly decent screenplay with nice dialogue, great sets, a glossy, well - polished look; plenty of gifted actors (Chris Cooper and Elle Fanning, above, particular stand - outs) doing their thing making the most of the material, and enough going on to hold you attention throughout — but by the time you reach the end, one can't help but feel a little empty.

And with the creaky dialogue kept to a minimum and composer David Lang «s «Just (After Song of Songs)» providing the ethereal soundtrack, it's a little sliver of something delicious — little did we know at the time that the full helping was going to be so unsatisfying.

It can be no mistake that Edith balks at her publisher's suggestion she add a love story to her manuscript — Crimson Peak is the first time del Toro has tackled romance face on, and the result is stilted, hampered by hammy dialogue and a sped - up timeline that gives the relationship little room to breathe.

TALKING: The funniest line of dialogue probably came with Aaron getting a little worked up (finally) and demanding his wife put panties on at his father's funeral.

At times, it can feel like it's moving a little too fast with the jokes and dialogue, and one running gag revolving around a celebrity goes a long while.

Clocking in at a shade under an hour and a half, with very little dialogue, the film has about the consistency and depth of a comic book, albeit a very well - drawn one.

The dialogue feels a little lean and tinny at times, but otherwise, the sound quality is very strong, bursting to life on the film's thought - out soundtrack selections from David Bowie and Seu Jorge's Portuguese covers of him to Devo and Sigur Rós.

Though researched to the nth degree and told with an unparalleled eye for detail, it is the little personal touches — Toschi's animal crackers spring to mind — and naturalistic dialogue rhythms that make sure that a human story beats at the heart of it all.

What he excels at here is making his dialogue sound and feel natural — though there are arguably a couple moments and scenes that feel a little forced.

«I think we are losing the graces of dialogue and respect, and the ability of at least listening to one another a little bit,» he said, reminding me that truth affects people differently.

Infrequent provision of instructional leadership by principals, especially at the secondary school level, leaves little room for dialogue about teaching and learning between leaders and followers.

The story is heavy on dialogue, maybe a little too much for my taste, but at least the dialogue was great.

Karen Cantwell's «Take the Monkeys and Run» is a fast paced mystery with trigger happy dialogue that has a little to do with monkeys and a lot to do with the laugh - out - loud antics of one suburbanite soccer mom / obsessed movie buff, who finds her imagination running wild when monkeys and a human head are discovered at the house next door.

What little plot there is at first is told through cryptic cutscenes and off - hand dialogue that gradually becomes clearer the deeper in you go.

At first hearing the dialogue from the film being spoken by small, plastic people was a little bit disturbing, but once I got used to it things went rather well.

These missions would have arguably had some justification had they at least been used to flesh out Mondo's personality a little more, attempting to cultivate that James Bond theme, but he remains almost entirely mute throughout each date, and your targeted «beauty» utters the same lines few lines of dialogue over and over.

While it may occasionally miss a beat, and can at times feel a little rushed, this is still a well - told tale worthy of the current Scott Snyder comic run, masterfully capturing the dark dynamic between the Joker and Batman through beautiful cutscenes that sport damn good dialogue.

At first I felt I was missing out on something pretty complex as my little robot companion, known as a Ghost, rattled off dialogue about the many facets of this seemingly intriguing universe, but much of it went right over my head.

I've rarely seen a game say so little with so many lines of dialogue that wasn't a Neptunia title (although at least those have more personality in its writing).

The voice over work is done well even if some of the dialogue can be a little cheesy and predictable at times.

So as your character explores this world and engages in a variety of missions and battles, you also come across a very eclectic group of characters that add to the overall experience of the trilogy but just be wanted that the dialogue can be a little heavy at times.

Otherwise, you might be taken aback by the extensive, text - heavy dialogue; there is no speech at all in Final Fantasy VII, in the interest of letting your imagination do a little work.

You also get to interact with these characters as they give you a snapshot into their lives and sometimes this dialogue can be a little stagnant at times.

Not to mention that the little girl character, who was AI controlled, provides some perfect dialogue at the right moments to really sell the bond she shares with her protector.

It is aimed at the little ones in that buttons flash over the head of the character you're supposed to use and dialogue instructs you what to do.

The cutscenes and dialogue are the most impressive part of the game even if they were a little long at times, but the excellent voice acting did not make them a chore.

Ico and Shadow of the Colossus are famous for having so little dialogue, but in The Last Guardian a narrator — who seems to be an older version of the player character, judging by how he uses the first person — will gives you «hints» at what you must do next, which is nice, but having the deathly silence interrupted by an unintelligible language is a bit distracting, to say the least.