Sentences with phrase «little dialogue for»

Not exact matches

Those on the right, who want to capture the jobs, programs, and networks for their opposing political agenda, also have little interest in dialogue.

Back stepping a little bit, finding similarities between Jesus and Buddha's teachings is an awesome entry point for inter-religious dialogue.

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.»

There is little in their message about «dialogue,» a key theme of Pope Francis; but there is a lot of hot rhetoric about impeding the enforcement of the laws, in terms weirdly reminiscent of the states - rights or «nullification» theory of John C. Calhoun, recently disowned by Yale University for his defense of slavery.

So long as faith was based on authority communicating supernatural propositions, there seemed little hope for dialogue with Protestants.

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.

I can generally reign it in somewhat as long as I have hope that genuine on topic dialogue can be achieved with someone but once I lose that hope I lose my reason for not giving in and having a little fun.

In regard to the comment about how Herd Evans provides little guidance in this critique, I would encourage readers not to seek step - by - step guidelines for what to do next but to exegete the situation on their own by engaging the tension through ongoing dialogue with millennials (or anyone who has become jaded with church).

We need musicians who write music not just to give voice to the religious, but to give music to the voiceless — those who have limited ways of dialoguing with God, who have never been to church, who are not a part of our little worlds but are a part of the world that God's Son gave His life for.

Blogs and websites may reinforce the top - down transmission of knowledge that is core to the knowledge deficit model14, with little analysis or understanding of their audience and little scope for interaction and dialogue.

A fast - paced, dialogue - driven, well - constructed little film about the immorality of our times, specifically playboy Roger (Campbell Scott) and how he decides to give his 16 - year old nephew (Jesse Eisenberg) in town a crash course in how to get laid after his nephew asks for his help.

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.

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.

Famke Janssen is also a treat for the eyes and Anthony Heald is amusing as the obligatory back stabbing weasel and although the dialogue is little more than samples from the A to Z of lame one liners it's quite good fun.

With a predictable plot on a well - worn theme, and with little dialogue of note, it's very hard for Villeneuve to sustain any dramatic tension.

People will despise this movie for its quirky dialogue and its over-exposed lead, but given a chance, Jennifer's Body is entertaining, a little bit different, and deserves better than it's gotten, despite some obvious flaws.

Unfortunately, there is too much dialogue and too little action for him and his performance suffers for it.

«Things could get a little messy — end of the world, that kind of thing,» is a telling piece of dialogue from the new Comic - Con trailer for The Man From U.N.C.L.E., which effectively sells its spy adventure tropes by treating them more as ornamentation than as substance.

Momoa kicks ass, of course, and does an impressive job for using little dialogue.

The dialogue is kept short and the answers come few and far between like little clues being left for a larger puzzle.

For its age and limitations, the dialogue is clear, and there's little hiss or unseemly rattle.

Ice Cube and his haircutting crew return for a second sequel of light - hearted dialogue and debate about America (and their little piece in Chicago), only this time in a post-Obama world.

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.

The film's limited dialogue leaves little room for language concerns other than some brief arguing.

For a film with very little dialogue, it's remarkably involving,...

A 5.1 Dolby Digital track is somewhat underutilized and a little quiet, but there is also a lack of any real need for bombastic five - channel audio pyrotechnics in the film; all that you need know is the dialogue sounds clear and the indie soundtrack is appropriately evocative of the Chelsea underground nightlife.

Sleek and slim, it throws the audience right into a visual dreamscape, allowing images to speak for themselves with little dialogue in the way of their charge.

The determined absence of dialogue for large swathes of the film — superbly shouldered by Blair's array of facial tics, if laboured a little when left too long — is paramount to its streamlined structure, which focuses firmly on actions and reactions, and the incitement to both.

With little dialogue (especially for a 150 minute running time), the film speaks directly to one's senses, as every great film should do.

With little dialogue and no background on the main character, it's hard to care for him even when he's in obvious peril.

I found the first hour or so of dialogue and gameplay to be rather dull and a little bit of a downer for the series, but once you give the game time to get started, the story begins to evolve and you will be reminded of all the great MGS experiences.

The meta - level layering and critical dialogue about horror movies in this sequence (characters with little to no development, predictable scare setups, and shocking turns that don't make much sense) are calls for variation that Kevin Williamson's script leave largely unanswered once the plot proper kicks into gear.

This is a deep cut, art house indie that features very little dialogue, almost no plot, and numerous extended fixed shots with no payoff for your anticipation.

This weak riff on Sergio Leone's classic western — just a little too pathetic to be endearing — sets the general tone for the film's dialogue and humour, which runs the gamut from «that's what she said» to «your mum».

He has little dialogue but he still very intense and he fair worked out for the role.

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.

I liked Iron Man enough to be a little nervous about the sequel, especially after seeing the film's star, Robert Downey Jr., marooned in Sherlock Holmes, which reached for that same mix of cool special effects, kinetic camerawork, clever dialogue, and mildly kinky characters and missed by a mile.

Appropriately titled To the Wonder, the film has Malick's stamp written all over it: Philosophical voice - overs uttered in hushed tones to a haunting orchestral soundtrack, panoramic displays of the physical beauty of nature, a story that features little dialogue, and an untranslatable feeling for the spiritual.

Meanwhile, the movie does revolve around Harley Quinn breaking away from her clearly abusive relationship with the Joker, but there's so little dialogue and actual narrative available to support this storyline, so it's really hard to even make a case for or against it.

The Dolby 2.0 surround sound conveys the dialogue with clarity, though there's little opportunity for ambient effects.

The second half of the film, however, is somewhat like Children of Men — one huge set piece after another, with very little pause for dialogue, let alone drama.

This approach reached a fever pitch in Metal Gear Solid 4, which tried to make up for its lengthier, more dialogue - heavy cutscenes by actually letting you drive the little Metal Gear Mk.

The first twenty minutes of the No Country for Old Men contain very little dialogue, except for a voice - over narration from a near - retirement sheriff played by Tommy Lee Jones.

But the audio is mostly dialogue, and that comes through crystal clearly with no distortion and there was little need for volume change.

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.

«Given the environment right now socially, you'd think [academy voters] would be more conscious,» said Gil Robertson IV of Los Angeles» African American Film Critics Assn. «There seems to be little thought or consideration on how «Selma» in particular really does provide an opportunity for people to have some real dialogue about race relations.

It's directed by David Dobkins, best known for his directorial duties on Wedding Crashers and Shanghai Knights, which doesn't inspire much confidence), but overall, despite the cheesy overly - inspirational music and a bit of eye - roll inducing dialogue («sometimes you have to forgive in order to be forgiven»), this looks like a solid, if not a little too Oscar - baity, early fall movie.

There's a little bit of pop to some of the dialogue early on («My insurance doesn't cover hormones,» Hailey's protective dad spits when he catches her trying to sneak out), but it's almost immediately too great of a hurdle and suspension of disbelief for McCoy (now 30, though younger when it was shot) and many of her costars to pass as teenagers, and the party - hearty set - up and kids - acclimating - themselves - to - the - house material that precedes the not - terribly - gory bloodletting is all nondescript filler.

The main extra on Warner's New Year's Eve Blu - ray is a running commentary by Marshall, who not only falls into the trap of simply describing either the action or dialogue of a scene instead of imparting much background information and stories about the production (going unaddressed, disappointingly so, is the widely reported last - minute Heigl - for - Berry recast, with the latter rejoining the project in a smaller capacity once her schedule cleared), he does so in a sing - song fashion that presumably is supposed to come off folksy - friendly but quickly becomes more than a little obnoxiously self - amused.

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