Sentences with phrase «long story scenes»

What makes this especially cool is that you're given the option to view these movies in English or Japanese — so you don't have to replay a long story scene just to view its insert movie in another language; instead, you can check it out in the Galari at your convenience.

Not exact matches

Long story short, on a drive to take his cousin somewhere, they come across a beautiful scene of cattle grazing on a hillside with the sun setting in the background.

In - depth special features take viewers behind - the - scenes of director Steven Spielberg's life - long fascination with Lincoln and the 12 years it took to bring the story of one of history's and mankind's greatest triumphs to the screen.

Long story short, we were supposed to go to a major nightclub (not exactly my scene), but thankfully, things somewhat worked against a few of us and myself and three of our ROCKSTAR reporters ended up just going to get milkshakes and cheese fries.

Long reads, analysis and behind - the - scenes stories from the Australian Broadcasting Corporation and selected contributors.

Do not try to create a boring scene with awkward, long stories with expectations that you will create an emotional drama and ultimately they will say I Love You.

WWE News, Backstage Stories, Photos & Videos How Long Alicia Fox Will Be Out Of Action, Photo From Rehearsal For Women's Royal Rumble Match Nia Jax gets the grand tour of New York's dating scene on an all - new Total Divas, leading to the idea for Maryse's next big party.

But please, the story is really awfull, with 10 minutes long scenes where you can do nothing but get bored to death.

To the people saying the story sucks, it doesn't at all and even gets strongly emotional when you are forced to do something terribly heart breaking late in the game, now that is a gripping and sad emotional moment granted it doesn't last long enough but it is better story and more emotional than anything in halo or gears and that is one scene on a handheld!

bit slower then the old series, i think the writers need to rethink with the long drawn out stories abit, and be abit like the old classic ones, alot more fighting scene's with laser guns would be good to start with, but over all i think its alot better then the long drawn out battlestar galactica the new series,

Despite the lessening of madcap energy, Shrek the Third is still quite funny in parts, with some fresh throwaway gags to produce chuckles now and then from characters you'd think they probably should have jettisoned long ago, but are secretly glad they've kept around (the Gingerbread Man, Pinocchio, etc.) The fact that they are keeping in nearly all of the characters introduced in the series thus far is a bit of a double - edged sword, as they do provide a certain respite from the main characters that are already cycling through the same jokes all over again, but on the other hand, it's getting to the point that the high overhead of injecting scenes for all of these characters takes away from the focus of the story at large.

Although it has some memorably disquieting scenes, this story of long - delayed justice is sustained by its melancholy more than its thrills.

The film had plenty of potential to being great, but instead it suffers from long, tired scenes of painful dialogue and the film's story just lingers and goes no where and when there's something that actually is interesting that happens, it's too little too late.

Not only are these scenes a lot longer and more expository than they need to be, but they give the sense of a film crew fighting against the material; the camera chases after the story, rather than grabbing it by the scruff of the neck like a proper adaptation would.

The writers appear to keep relying on long boring sex scenes because they don't seem to be able to think of any way to develop the story.

It's literally half the episode is a story progress while the second half is a long fight scene.

A former child star in her native England on the long - running show «Grange Hill,» Asante spent four years trying to bring her story to the big screen, even working on the script on her wedding day and writing pickup scenes while sitting by her dying father's bedside.

Yet the English variant also expurgates a vagrant's long story about taking a crap near a crime scene and so creates a more artful cutaway, from a body draped in a coroner's sheet to Roberto fondling a potentially - deadly ascot.

That said, there's a lot more character and story information along with longer versions of those already glimpsed action scenes.

But, so long as you can follow the story well enough, and don't mind the rather lengthy takes that Soderbergh enjoys during scenes of running or driving, Haywire is worth seeking out for a smart, stylish, and off - speed action film that blends traditional thrills with Soderbergh's independent experimentation with the process of genre filmmaking.

There is not much inspiration or story for anyone else who doesn't like to be grossed - out, and for long stretches, there isn't much going on at all except to set itself up for another disgusting scene.

But the story is so simple that it's almost unnecessarily long just for the sake of feeling epic, and it's tonally uneven as well, due in part to a few scenes that stray close to parody and some cameos (from Franco Nero, Jonah Hill and Tarantino himself) that are too cheeky for their own good.

The long expository scene looks like the beginning of a downbeat, miserablist film whose only object is to tell the story of a married man attempting to recover from depression through rebuilding friendship and re-entering the world of work.

The crime scene precisely resembles the one in Poe's story «The Murders in the Rue Morgue,» and before long a valiant police detective (Luke Evans) has enlisted the author to help capture a serial killer who's riffing on Poe's work.

In - depth bonus features on the film's two Blu - ray releases takes viewers behind - the - scenes of director Spielberg's life - long fascination with Lincoln and the 12 years it took to bring the story of one of history's and mankind's greatest triumphs to the screen.

The story then picks up with them in high school, but Teller and Bell are no longer young enough to play high school aged characters so it just feels a bit awkward in those scenes.

While the opening scene, which serves only as back - story and general reasons as to why it takes so long for Raleigh (Charlie Hunnam) to return to the Jaeger game, is fluff for the film and even in the moment felt unnecessary as opposed to just being retro - actively less awesome than the other greater action sequences.

Some excellent acting and some powerful scenes managed to break up the 3 hour long drawn out story.

The story is lusciously captured with some magnificently composed scenes by director Tom Hooper's long time cinematographer Danny Cohen.

However, their distraction pales in comparison to the beefed up role for another fictitious character, Bard's (Evans, Dracula: The Untold Story) servant Alfrid (Gage, Hamlet), who is meant to be the film's comic relief, but ends up being so broad and overbearing, you'll long to find him beheaded and skewered on the end of an Orc's spear after just the first of a dozen intolerable scenes in which he appears.

And he comes into his own during Whiplash's unforgettable climax, a long and brilliant scene in which the film's story is resolved by music rather than words.

Some scenes go on too long, the bedtime story running joke gets thin after the third or fourth time, and the messages aren't as clean and clear as they could have been.

But there's also a lengthy deleted scene from the very end of the film, which keeps the story going long after the theatrical cut ends, and reveals even more flaws in Felt's character.

As long as they have a director in the driver's seat that can help tell a wonderful character - driven story, Feige knows that the team at Marvel Studios can help guide their filmmakers behind - the - scenes with the visual extravaganza fans have come to know and love from Marvel films.

Luhrmann takes great care with the rhythms of individual scenes, yet the film as a whole plays like a long trudge through a familiar story.

Much of this has to do with the fact that the storyline is a bit more cohesive, no longer showcasing scenes that don't push forward the plot or story, even if they are still hinged by the flimsiest of reasons.

You certainly need a bucketful of patience when watching A Ghost Story and there were those critics who argued that it was really more of an art - project / museum piece (especially the infamous pie - eating scene) but stay with it and you are rewarded with an experience that will actually «haunt» you for a long time after the credits roll.

The story follows Kimberly and Dell, a couple played by Emmy Rossum and Justin Long, through a series of scenes in their life together, shifting in time and relationship status.

Special Features Deleted Scenes Beyond the Darkness: Story Origins Enterprise Takedown: Destroying and Icon Trekking in the Desert: On Location in Dubai To Live Long and Prosper: 50 Years of Star Trek For Leonard and Anton

Although the film is short at 86 minutes, even that seems too long — there is fully half - an - hour of scene - setting during which the story makes no progress before the two main characters find themselves on the island, and once they arrive there significant chunks of the time is filled with their rolling in the sand or with musical numbers designed to let Madonna strut her stuff.

Maybe this was a big break for Alexandra Daddario and Lili Simmons, but their in flagrante nude scenes go on far longer than it takes to establish a story point, or even to titillate.

Partly a story of unspoken longing finally being spoken aloud, Disobedience seems inexorably headed toward this centerpiece scene.

I would be shocked to learn this movie had been story - boarded, because it felt like the last half hour of an action - light movie is just one long, repetitive chase - fight scene between Reacher and the Hunter.

The bulk of the extras are on disc two: extensive making - of documentaries covering everything from story conception and design to various technical minutiae; concept and promotional art galleries; trailers and forced, would - be comic junket «interviews» with gushy TV entertainment reporters; profiles on the Incredibles and many other supers; a droll video «essay» by the voice of Violet, Sarah Vowell; a faux blooper reel (an exercise that has long exhausted its novelty); and a large assortment of deleted scenes.

Director Amat Escalante uses artful long takes, nonprofessional actors, and moments of abject miserableness — in one terrible - to - watch scene, a character has his genitals lit on fire — to sketch the story of a decent Mexican family churned up by their country's corrupt police force.

It's not that a police action vehicle should never be 124 minutes, it's just that this particular one is sometimes drawn out a bit too long in certain respects, including several scenes that don't really add much to the core story (such as Harry's tryst with his downstairs neighbor), while the climactic finale could have been trimmed and come away more exciting.

He has literally two proper scenes; the first is to justify demoting Cruise's character and sending him into battle in order to cover his own ass (somehow) and thus set the story in motion, and the second is to give Blunt and Cruise the MacGuffin when they finally decide that they've been faffing about for long enough and should probably get act three started.

After the end scene, there was an extended ending cut out of the movie where it turns out that everything was just a story told by a person named Gary (also played by Justin Long) to his girlfriend, Lisa (also played by Gina Philips).

Some good moments, but the pacing was wrong and many long dialogue scenes added nothing to the story.

Starting things off, there's an audio commentary from director Mark Hartley, joined by «Ozploitation Auteurs» Brian Trenchard - Smith, Antony I. Ginnane, John D. Lamond, David Hannay, Richard Brennan, Alan Finney, Vincent Monton, Grant Page, and Roger Ward; a set of 26 deleted and extended scenes, now with optional audio commentary from Hartley and editors Sara Edwards and Jamie Blanks; The Lost NQH Interview: Chris Lofven, the director of the film Oz; A Word with Bob Ellis (which was formerly an Easter Egg on DVD); a Quentin Tarantino and Brian Trenchard - Smith interview outtake; a Melbourne International Film Festival Ozploitation Panel discussion; Melbourne International Film Festival Red Carpet footage; 34 minutes of low tech behind the scenes moments which were shot mostly by Hartley; a UK interview with Hartley; The Bazura Project interview with Hartley; The Monthly Conversation interview with Hartley; The Business audio interview with Hartley; an extended Ozploitation trailer reel (3 hours worth), with an opening title card telling us that Brian Trenchard - Smith cut together most of the trailers (Outback, Walkabout, The Naked Bunyip, Stork, The Adventures of Barry McKenzie, three for Barry McKenzie Holds His Own, Libido, Alvin Purple, Alvin Rides Again, Petersen, The Box, The True Story of Eskimo Nell, Plugg, The Love Epidemic, The Great MacArthy, Don's Party, Oz, Eliza Fraser, Fantasm, Fantasm Comes Again, The FJ Holden, High Rolling, The ABC of Love and Sex: Australia Style, Felicity, Dimboola, The Last of the Knucklemen, Pacific Banana, Centrespread, Breakfast in Paris, Melvin, Son of Alvin, Night of Fear, The Cars That Ate Paris, Inn of the Damned, End Play, The Last Wave, Summerfield, Long Weekend, Patrick, The Night, The Prowler, Snapshot, Thirst, Harlequin, Nightmares (aka Stage Fright), The Survivor, Road Games, Dead Kids (aka Strange Behavior), Strange Behavior, A Dangerous Summer, Next of Kin, Heatwave, Razorback, Frog Dreaming, Dark Age, Howling III: The Marsupials, Bloodmoon, Stone, The Man from Hong Kong, Mad Dog Morgan, Raw Deal, Journey Among Women, Money Movers, Stunt Rock, Mad Max, The Chain Reaction, Race for the Yankee Zephyr, Attack Force Z, Freedom, Turkey Shoot, Midnite Spares, The Return of Captain Invincible, Fair Game, Sky Pirates, Dead End Drive - In, The Time Guardian, Danger Freaks); Confession of an R - Rated Movie Maker, an interview with director John D. Lamond; an interview with director Richard Franklin on the set of Patrick; Terry Bourke's Noon Sunday Reel; the Barry McKenzie: Ogre or Ocker vintage documentary; the Inside Alvin Purple vintage documentary; the To Shoot a Mad Dog vintage documentary; an Ozploitation stills and poster gallery; a production gallery; funding pitches; and the documentary's original theatrical trailer.