Sentences with phrase «more emotional scenes»

Obviously, we want to scare the player, but we'd also like it if the player were to cry at some of the more emotional scenes.

The acting is good, but as is expected of child actors, some more emotional scenes are performed quite poorly (and dare I say it; laughably).

The heavily 80s - influenced score works wonders to accompany both the rat - a-tat dialogue and the quieter, more emotional scenes.

The only real problem is Josh Peck, who isn't terribly convincing as the impulsive star quarterback and falls flat in many of the film's more emotional scenes.

Everyone knows that a great film needs a great soundtrack as it what truly brings some of the more emotional scenes alive; the movie however does lack that.

Not exact matches

The emotional scene at the Capitol came on a day when more than 100 more students from the school were headed to Tallahassee by bus to meet with Gov. Rick Scott, Attorney General Pam Bondi and legislative leaders.

[On the other hand] we see more amygdala involvement when you say, «Yeah, I really remember it in a lot of detail» if it's an emotional scene.

More ambitious Hollywood films that want to use computer - animated figures for real - life scenes could also benefit — whether they need a virtual stunt double or a realistic emotional performance to match the gravitas of films such as «Schindler's List.»

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!

Bell carries her weight in the emotional scenes and the battles, and Wilson proves (as he occasionally has) that he can do more than be a laid - back comic foil.

More an action blockbuster than a horror squelcher, it contains spectacular crowd scenes that have an Hieronymus Bosch quality, but the film lacks strong meat — of the emotional and bloody zombie - cannibal sort.

The film reveals that more than half of the New York ballroom scene are HIV positive; many of its subjects talk to Jordenö about the emotional agony of being tested.

That scene is so brazenly powerful that in retrospect it made me wish the main character had gone on a journey with more emotional gradations.

And Naomie Harris» eventual sidekick Kate has an emotional back story that's designed to make her more accessible but really just falls flat — a scene between the two when they share their pasts, including when Davis found George and saved him from poachers, is embarrassingly mishandled.

«I will flash forward or bring a shot back because the scene may have been shot more conventionally, and I need to add that edge back, that emotional power back.»

While the school - wreck scenario invites self - aware satire echoing scenes from Titanic to The Poseidon Adventure, the emotional trauma of adolescence receives more thoughtful treatment thanks in large part to the distinct timbre of vocal talents, including Jason Schwartzman, Lena Dunham, Reggie Watts and, as sage Lunch Lady Lorraine, Susan Sarandon.

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.

Moretz ends up going on a rampage for the climax like the Dark Phoenix from X-Men: The Last Stand with arms held out and eyes in «looks could kill» mode, but lacks the emotional resonance of Spacek's trance - like turn, in which her powers unleashed came as a shock, but with an overriding sense of tragedy; Moretz is shown practicing her skills extensively during several scenes, which makes her revenge seem much more calculated and evil.

Crowe's journalistic eye shines through the scenes set in the sports world, which feel firmly drawn from life, but his emotional sensitivity shines through in the more personal scenes, which are far more perceptive and complex than the much - repeated catchphrases.

«Touchy Feely» Lynn Shelton's latest isn't perfect, but damn if its highs don't exceed just about everything else I've seen this year, packing more emotional wallop into a single scene than most films do in their entire running time.

Without spoiling anything, both of these scenes are incredibly emotional and somewhat subtle, making the overall outcome of what happens in them stronger and more effective.

here, but then if I did that, there'd be no room for an actual review), in which the firelight silhouettes Jade's body through her nightgown, making this scene more about the physical payoffs than the emotional sensitivities.

Now, a behind - the - scenes clip has emerged from the film's home release showing Hamill getting emotional seeing Frank Oz doing voice work with the Yoda puppet once more.

As the story progresses both men learn more about each other, setting the scene for some emotional revelations.

In more intense or emotional moments, the voice acting and sync with characters broke me out of the experience and dulled the impact of some scenes.

The movie is more about a time, a state of mind, and an emotional place than it is a story, and Gerwig allows scenes to wander off track, but in a delightful way.

All I know is that this adaptation of the 1983 Wilson play, scene for scene, packs more of an emotional wallop than the rest of this list combined.

Dayton and Faris honor the feel of 1973 by shooting on anamorphic 35 mm film, even if handheld lensing during emotional scenes gives things a more contemporary edge.

We'd be foolish not to give some sort of shout out to other terrific scenes throughout the year, like the hilarious funeral sequence in Li» l Quinquin, which had us doubled over from laughter; both the border crossing and night vision sequences in Sicario; the ending of Carol, which should get an emotional response out of even the coldest souls; the opening long take in Buzzard, a painfully funny experience much like Entertainment; the bonkers final act of Jauja; a scorching scene from The Fool where the town mayor lays into her corrupt staff; everything that happens at Mamie Claire's house in Mistress America; the intense argument between Gerard Depardieu and Jacqueline Bissett in Welcome to New York; the tightrope sequence in The Walk, and much, much more.

It's not so oppressively dark so as to render the comedic scenes in bad taste, and it's also not so outlandish that it detracts from the emotional weight of the more dramatic scenes.

Cap's straightforward goodness is a tonic in an age of grit for grit's sake, and his quiet scenes with Bucky have an un-ironic emotional charge that's ultimately more radical than Batman and Superman's glowering in Zack Snyder's recent mope-fest.

Their film features perhaps the first action scene we've ever seen where we cared more about what was happening in a character's relationship than how many kills he was about to rack up — and then, once it was done, felt simultaneously exhilarated by the visceral power of what was happening immediately, and the emotional stakes of what that set piece took him (and us) away from.

As with most formulaic films, the predictability factor is quite high, and without any new twists, the emotional final scenes ring hollow when it should have been much more uplifting.

He lacks the emotional range to fully draw us in to his story and you can really see him straining in some of the film's more taxing scenes.

He has more than enough charisma to hold it together, even if his one big emotional scene feels a bit, well, stony.

A number of the film's most memorable scenes aren't elaborate sequences, but quieter, more emotional ones.

What is surprising about her direction is the emotional power she is able to pack into some scenes, especially the climax and the surprisingly moving final shot — in the hands of a less assured director, it could have been a simple, routine embrace, but in Bigelow's hands, it is so much more.

It let its clinical connotations and emotional components about the value of life, identity, creativity and self - knowledge sink in more deeply than Ishiguro's dreary scene - setting details.

Initially, Laura and Toni are merely helpful indicators of Thom's alternative lifestyle, but after a few awkward dinner scenes and some excellent nonverbal emotional cat - fighting between all the women (everybody wants a piece of that Thom; it must be the suit) both women become fully - formed characters made all the more tragic for following Thom to their doom in Point Dune.

Mistress America is a far more energetic ride, lurching from scene to disconnected scene without too much fear of coherence, and cramming in a year's worth of emotional development into a timeline that only spans a few weeks.

While Jackman is more than genuine as the father driven to the ends of his frayed tether to find his daughter — and a few particular scenes with his son are heartbreakingly emotional — it's Gyllenhaal as the in - his - world, indefatigable detective that takes over as the heart of movie in the end with an impassioned but controlled tenacity that never asks to be applauded as heroic.

And then there's John Lithgow, and Jeffrey Tambor, and Cynthia Addai - Robinson, fantastic actors who add emotional weight to its more standard scenes.

Where M'Baku easily could have become a hypermasculine character relegated to the margins of fight scenes and one - dimensional villainy, Duke's sly charm paints a far more complex emotional landscape.

It the idea of taking short performance piece and gradually «Brechtifying» it by adding more elements designed to distance the audience from the emotional content of the scene.

But I'd love to have more discussions, and I'd love - love — love to post developmental and editing examples using writing samples (voluntarily submitted, anonymous or otherwise, and I'd toss my own into the mix if requested as well) to talk about choices, shaping a scene, and delivering emotional verve.

Two important scenes strike me as just needing more time given over to them, and instead they came across as rushed, losing some of the emotional impact from an important reveal and damaging the aftermath of an otherwise shocking moment.

It's just unfortunate that there are scenes that require some emotional attachment to certain love interest characters but the game did absolutely nothing to develop those characters to anything more than NPCs that gave out quests.

That's not to say that Uncles don't love their nieces and nephews dearly, but the way Ubi's writing team setup many of the emotional scenes it always felt like Aiden was more than just an Uncle or a Brother to his Sister Nikki and her kids.

Now this gunplay ties into an issue brought up by almost everyone who has reviewed the game; Lara's first kill within the game is an emotional and shattering moment for Lara, but only fifteen minutes after that scene she is gunning down dozens of more soldiers.

The now - notorious «stroggification» cut - scene, in which you watch as your body falls under a gruesome butcher's knife, is one of the single most disturbing scenes I've ever seen in a game, and the mangled and tortured bodies attached to walls, hanging from hooks, and spewing out of machines as you make your way through the game give Quake 4 more of an emotional impact than anyone has a right to expect.