Sentences with phrase «much on the dialogue»

He does have a few good scenes in «The Gambler», but an unfocused script that relies way too much on dialogue results in «The Gambler» being one of the holiday season's weakest releases.

Writer / director Sally Potter takes a straightforward approach to her material, and for a film that relies so much on dialogue, it flows extremely well.

Most of the time spent playing through the campaign of Tiny Metal will be in the long battles and not as much on the dialogue before and after stages.

Not exact matches

«Much of the Japanese dialogue, especially Atari's, has been pared down to simple statements that non-speakers can figure out based on context and facial expressions,» he continues.

If the Church is cautious in questions of doctrine and discipline, perhaps even more so than in the past, if she waits for more information, carrying on a dialogue, perhaps even leaves much to the conscience of the individual, all this does not mean that the authorities have grown cowardly, they have not, for this reason, given up their responsibility and their power.

Much communication and dialogue in our ecumenical network on all levels of globle, national societies and localities is much desired at this poMuch communication and dialogue in our ecumenical network on all levels of globle, national societies and localities is much desired at this pomuch desired at this point.

She then invites the women to carry on an inner dialogue among their roles and subpersonalities, particularly those which are usurping too much of themselves.

I have invested quite a bit of dialogue in this thread very much on subject and you just keep sticking your fingers in your ears like a school girl saying I can't hear you.

Through my intensive interaction with faith and theology in the WCC as much as through my studies on Leonardo Boff in Brazil, Raimon Panikkar in India, I have come to the conclusion that it is, indeed, confidence that is the condition for ecumenical dialogue and agreement.

Lear marvels that so much of what passes for commentary on Socratic irony in Plato's dialogues has to do exclusively with the question of whether Socrates dissembles, whether he wears a mask of unknowing behind which lurks either certainty about important matters or skepticism, perhaps even nihilism.

This is much to be regretted, not for any reasons of personal ambition, which I abjure completely, but because in the cause of postpartisanship (if not postmodernism) I believe a participant from the Culture 11 group (may it rest in peace) would add immeasurably to the depth of the dialogue going on within the administration, mixing it up with the likes of Susan Rice and Samantha Power (reminding them there was a free election in Iraq on Saturday), or with Lawrence Summers (recalling to him, since he failed so conspicuously in stimulating the women at Harvard, how one might do better with the economy).

Confusion understandably arises because a political doctrine that goes by much the same name generally calls for political dialogue to be conducted on grounds other than religion.

Indian theologian Stanley Samartha, the first director of the subunit on dialogue, while agreeing about the need for mission and conversion, called for a much more positive theological appreciation of the role of world religions in God's mission.

Thus papal absolutism contradicts much in the historical Catholic tradition that defends these more pluralistic sources of truth that engage in dialogue and make official definitions only when a broad consensus has been established on a particular issue.

Much of the dialogue following the Charleston killings has focused on the Confederate flag, which has long been considered a symbol dividing the South along racial lines.

just how much dialogue goes on between our gaffer and those int ones?

I would like a system where the actual content on these steps is much more the product of dialogue between individuals and personal advisers.

«In that spirit, I am writing to you today to open a dialogue that I hope will help us work together to enact much - needed reforms on which the NFIB and the WFP now stand united: Enactment of a property tax and a spending cap, reducing state spending and our job - killing cost of doing business and fighting efforts to increase taxes even further in New York.»

Decisions on how much to charge tenants are made by registered social landlords, following dialogue between local authorities and housing associations.

While the Governor's promise of dialogue on tolls in 2015 is a positive sign, I remain disappointed that Rockland County residents have been offered little information to date on exactly how much Tappan Zee tolls will actually rise.

«Our current political system is based too much on scripted messages and doesn't give many opportunities for this kind of honest dialogue.»

While Tarantino's dialogue borders on the verbose at times, Di Caprio dispenses his words with an instinctive sense of just how much weight he needs to give to each one to get the most out of them.

Everyone on the moon is literally gay, the dialogue is so poorly written I cringed through half of it, the enemies seem much less imaginative

This may seem like a knock on Rowan Joffe's screenplay (adapted from Martin Booth's novel A Very Private Gentleman), but it could say as much or more about the director's decision to shoot in a moody, meditative manner — and cast characterful Euro faces who deliver dialogue as if it were carved in stone.

Everyone on the moon is literally gay, the dialogue is so poorly written I cringed through half of it, the enemies seem much less imaginative than Borderlands 2's, and there are a tremendous amount of bugs and glitches that take away what little enjoyment that I had from playing this game.

Julian Mitchell's script tends to drag its feet, if not cut short a lot of expository depth, but it keeps consistent on razor - sharp dialogue, occasionally broken up by witty humor that puts a bit of kick in the slower spots, about as much as highlights in Brian Gilbert's direction which break up slow spells and sentimentality with occasions of color and effective thoughtfulness.

It doesn't try to show some drastic change, but it does attempt to convince others that change can indeed happen, it also never puts blame on one person, because obviously with marriage it is a joint effort, there will be trials and on other occasions it simply won't work, but time and commitment can change that, rarely can a simple film like this address so much in such limited issues, but sharp, often improvisational dialogue and strong performances create a very real and insightful piece that underplays everything for maximum effect, which works.

Much like Richey Edwards» self - deprecating lyrics on the uncompromising Manic Street Preachers album The Holy Bible, the dialogue is shot through with the gallows humour people with self - inflicted issues often exhibit.

Filmed without narration, subtitles, or any comprehensible dialogue, Babies is a direct encounter with four babies who stumble their predictable ways to participating in the awesome beauty of life.Needless to say, their experience of the first year of life is vastly different, yet what stands out is not how much is different but how much is universal as each in their own way attempts to conquer their physical environment.Though the language is different as well as the environment, the babies cry the same, laugh the same, and try to learn the frustrating, yet satisfying art of crawling, then walking in the same way.You will either find Babies entrancing or slow moving depending on your attitude towards babies because frankly that's all there is, yet for all it will be an immediate experience far removed from the world of cell phones and texting, exploring up close and personal the mystery of life as the individual personality of each child begins to emerge.

Find Me Guilty is a courtroom drama (much of the dialogue is culled from court transcripts) without a whole lot of drama going on.

It redefined the crime film with it's emphasis on cool and endlessly quotable dialogue and there's so much attention to characterisation that Tarantino could have made several films from his material.

He'd been working on the script for eight years and had been inspired to move into directing by his desire to make sure it was done right («I suddenly realized that I'd written a bunch of descriptions without much dialogue to go along with it.

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

I thought he put on too much of a «Batman voice», so I couldn't make out what he was saying half the time as he mumbled and grumbled his dialogue, which prevented me from appreciating the prose.

Without so much as a line of dialogue on the part of Winstead, Trachtenberg artfully presents the character and her circumstances (including a voice cameo from Bradley Cooper), bringing his protagonist to life out of mere screen direction.

They can depend on score too much to dictate our emotions, instead of letting the dialogue do the work.

Sorkin's script, which is based on the real - life Molly's memoir, has way too much dialogue and too many voice - overs for the genre.

On the other hand, much of the dialogue is laughably ridiculous and is only intentioned to be so about half the time.

Audio: Again, what's on offer here is very subtle; you aren't going to hear much in the way of sound effects (or dialogue, or anything else, for that matter).

Rating: 4/10 — somehow grabbing an extra point just by virtue of how barmy it all is, Once Upon a Time in Venice is a low - brow crime caper that contains way too much bad acting, way too much bad dialogue, and way too much bad everything else; but somehow it's a movie you can laugh with instead of at, and it's a movie that has to be seen to be believed... on so many levels.

Based on one of the early cases taken up by future Supreme Court justice Thurgood Marshall when he was working for the NAACP, the film proceeds without much subtlety, though with a filigree of witty dialogue and Chadwick Boseman's panache as the wry, natty young attorney.

So the onus must fall on the material adapted, Robert Harris's follow - up to his much - lauded Fatherland, which promised a Ken Follett romantic espionage page - burner while delivering a staid and occasionally incomprehensible period bodice - ripper crushed under the dual gorgons of the sophomore jinx and the Tom Clancy «guess I'm not very good at dialogue» bogey.

If you're the kind of moviegoer who got restless during the more dialogue - heavy sequences of «Death Proof» or «Reservoir Dogs,» you may find that there's too much talk and not enough action in a movie that teeters on the three - hour mark.

What a tedious film.Over acting, wobbly plot, dialogue at times pure drivel and a laughable ending.It really was poor.The film goes straight into a Cul de Sac and can not get out.Way too much nudity from the metro sexual looking Tilda Swinton.Her androgynous body quite turned my stomach.A redeeming feature was the glorious sunshine and powerful light of Italy.The film meanders, wobbles and finally falls down.Older people like Swinton and Fiennes should really keep their pants on at all times.It is acutely embarrassing when the oldies need to do so much nudity (l suspect it is to appease their insecurity that they might not be physically desirable anymore) Horrible attempt at film making

Accordingly, the parts of Sentinel that bog down are the parts that rely too much on the cast to provide backstory and motivation when the best, most poetic bits of the picture are the first ten minutes (including its credit sequence) that tells all one needs to know without a word of dialogue.

(You can also predict the order in which they get killed off, based on how much dialogue each one has.)

After all, it's difficult to carry on much dialogue when eighty percent of the runtime is taken up with gunfire.

This is important because it's a film that relies so much on the composition to add depth above and beyond the dialogue - driven storytelling.

I also love how much of the story is told through facial expressions, relying on as little dialogue as possible.

It's hard to believe that any film that starts so promisingly, with Ryan Phillippe full - on punching Sarah Silverman in the mouth, can go so far downhill, but despite its gonzo and engaging opening half hour, the film soon sinks under its own weight, hampered by thin characterization, ludicrous overplotting and a director way, way too much in love with the prose on the page to bother trying to make it sound like dialogue from a human mouth.