Sentences with phrase «much of the action»

«Iron Man» touched a nerve by setting much of its action in a war ripped from the headlines (Afghanistan).

Company managers then made sure to «decompose» the measures to department and workstation levels, where much of the action took place.

Much of the action is concentrated in the 60.5 - foot corridor between the pitcher's mound and home plate.

Together the three novels form the «Deptford trilogy,» named for the Ontario village where the snowball first was thrown and which remains, despite the European settings of much of the action, the chief point of reference in all three books.

He is present for too much of the action and credited with too many breakthroughs to be believable as a historical figure.

Because our lives are not simply our own, because our very person is shaped by the words and deeds of others, because so much of our action is responsive, patience is essential.

In total eleven different trades were consummated, with much of the action coming in the last hour of the deadline.

Needless to say, as soon as the Arsenal attacked, the crowd swayed and moved to such an extent that I ended up not seeing much of the action at all.

It was set in Modesto, California, 1962, but filmed largely in Marin County, with much of the action taking place along a thinly disguised Fourth Street in San Rafael, just 15 miles south of Sonoma Raceway.

During the playoffs, the number of bets placed on every game nearly doubles, with much of the action from square bettors.

During the playoffs, the number of bets placed on every game increases with much of the action coming from squares.

For one thing, it's not a good TV game — again, because so much of the action happens underwater.

England controlled much of the action after a rousing national anthem that saw England fans sing «La Marseillaise» in support of the French.

With much of the action taking place on that part of the field, it often gets resodded, Soldier Field general manager Tim LeFevour said.

Although the coalition has made much of its action to levy # 2 billion from the banks, the one - off «bonus tax» introduced under the last government was cancelled.

Although Kepler and Corot are focusing on sunlike stars that could support true analogues of Earth, much of the action at ground - based telescopes is concentrating on red dwarf stars, for the simple reason that planets are easier to find there.

Much of the action seems grafted on almost as an afterthought, and Batman (Keaton) plays far too small a role in the proceedings; Burton clearly identified more with the Joker (Jack Nicholson) and apportioned screen time as such.

Oh, and the inexplicably bland Kayla Silverfox (Lynn Collins), who's Logan's beloved and meant to be the catalyst for much of the action, but who, in my opinion, is exceedingly bland and chemistry-less opposite her leading man.

And since much of the action takes place during one fateful, frantic night, the disc also gets to flex some remarkably deep black levels.

Much of the action involves the hijackers debating ideology, and the Israeli politicians outlining developments to each other («Shimon, let me explain to you the situation as it stands...»), making for a sluggishly theatrical feel.

But much of the action onscreen doesn't ring true.

Mainly it's marking time: the characters take a definite backseat to the special effects, and much of the action seems gratuitous, leading nowhere.

Much of the action turns on Brian joining Bristol's University Challenge team (Mark Gatiss does a hilarious Bamber Gascoigne).

Shot in nondescript Los Angeles locations, including a generic apartment where much of the action takes place, the movie has a flat, featureless look more suitable to one of the low - budget, semiprofessional productions that Mr. Affleck helps sponsor through the «Project Greenlight» contest.

Much of the action turns on Hilly and the club's staff, a largely easygoing lot save for pragmatic daughter Lisa Kristal (Ashley Greene), who struggles with CBGB's chaotic finances.

Yeoh gets to do plenty in the final half - hour, though much of the action doesn't really spotlight what makes her different from Western action stars; it's as though the producers — so used to standard Hollywood action, with its high - tech hardware, special - effects wizardry and stunt doubles — didn't know what to do with an actress who has actual physical skills.

As she brings us into the Algiers Hotel, where much of the action takes place, Bigelow makes us feel trapped in hell, as she should.

Though much of the action remains confined to the inner sanctum of Franco's home, the biblical implications of the film dictate that they must eventually be taken out of their comfort zone, and thanks to their reasonably sized budget, they have enough to clout to develop some eye - popping special effects, and although it intends to satirise the current trend for apoca - blockbusters, it does its level best to match them in terms of scale.

One can feel a determined hand behind much of the action, which is muted and not bombastic, focusing on hand - to - hand combat and outsmarting one's opponent.

DuVall displays both confidence and trepidation as a first - time director, as much of the action consists of people talking in long and medium shots, the unfussy direction allowing the actors room to breathe but not to experiment.

The house in which much of the action takes place is a credit to the production values team: huge, ornate rooms on the one hand and simple Japanese style on the other.

Farhadi returns with The Past, moving much of the action from Iran to France, where he charts the seismic shifts within a family when the Iranian born father decides to leave his French wife.

While many of the ideas are high - tech, much of the action, superbly shot by Roger Deakins, is anything but.

Much of the action in the celebrated miniseries «Fargo» pivots on a first episode scene in which Gus Grimly, Colin Hanks» single - dad deputy, pulls over Billy Bob Thornton's mysterious Malvo and then, after some major intimidation, lets him go, a decision that results in numerous people (most of...

Much of the action sequences also feel straight out of the video game and, much like in the games, they are exciting to watch and engage in.

That sentiment, so rife in the»70s, seems to be present in much of action cinema today, typified by the Bourne franchise or even the blockbusting Hunger Games; Watergate and Vietnam have been replaced by the Iraq War in a post-9 / 11 era of whistleblowing and WikiLeaks.

Robert Schwentke is hardly what you'd term an actor's director, but then he's not much of an action director either.

McGrath intercuts much of the action with staged interviews of Capote's social and literary contemporaries, including his early friend Harper Lee, played with an awkward drawl and not else by Sandra Bullock.

Perhaps best of all, Katz dares to stage much of his action in the daytime, largely avoiding the shadows - and - fog noir pastiche he could so easily play into.

Also, much of the action takes place in an old lodge, which does give the audience a sense of feeling trapped like the characters, but also slows the pace further.

Even Altman's practice of shooting much of his action with two cameras can be linked to Renoir's TV - inspired use of multiple cameras in the late 1950s, while his tendency to keep these cameras moving (resulting in a prowling effect that harks back to The Long Goodbye) adds to the Renoir - like feeling that more is going on in this fictional world than one could possibly encompass.

Unfortunately, director Edward Zwick doesn't call on her enough and instead has Cruise performing much of the action.

With the tempo cooled, director David Yates (back for his third film) and screenwriter Steve Kloves pore over the nuances of character and environmental changes, delighting in the opportunity to kick the kids out of Hogwarts (nowhere to be seen in this installment) and into the treacherous Muggle world, staging much of the action in outdoor locations that open up the scope of the series.

Much of the action takes place in the fictitious Wakanda and the white characters, including Freeman's obliging Ross, are the secondary characters.

The film looks beautiful, much of the action taking place against a desolate and snowy background, and some unusual camera angles add to the visual impression.

Utilizing some of the modern shaky camera work, much of the action has a frenetic feel, and the look of actually being there, witnessing the events as they unfold, although some viewers may find it a bit queasy or annoying to take.

His face is visible in much of the action, maintaining intimacy between audience and character in the most outrageous situations.

The movie relies on repeated scenes of cartoon violence for much of the action.

Leo Tolstoy's tale of ball gowns, steam engines and lives ruined by affairs has been injected with a burst of visual flair by the Atonement auteur, staging much of the action within a 19th Century Russian theatre, where characters move from scene to scene as if in an epic, shifting play.

Even though Harding's point - of - view dominates much of the action (that is, what we see on screen corroborates her accounts of Gillooly's abuse, rather than his interview - scene denials), there's still a visible struggle for her to maintain it, even in her own biopic.