Sentences with phrase «of anything on the screen»

The glare from indoor lights was distracting, and in sunlight it was pretty hard to see much of anything on the screen.

Not exact matches

Before he can get an answer, McMullin launches into a giddy litany of all the Edmark products he owns, what his five - year - old daughter and three - year - old son can do with them, and why the lukewarm prospect who's been staring vacantly at the screen until now should buy anything with the name Edmark on it.

Your office IT manager will happily tell you that anything that gets typed on a screen is completely traceable, regardless of whether it's encrypted, sent directly from BlackBerry PIN to BlackBerry PIN, or even deleted afterward.

«None of these are yet on investor screens in a manner that affects their investment decisions, if our conversations are anything to go by,» says Manoj Pradhan, global economist at Morgan Stanley.

For years people have asked whether the amount of violence portrayed on movie and TV screens has anything to do with the growing violence in real life.

(I couldn't tell another person asking for some money to feed their children that we cant give them anything (because its policy) when we have 6 plasma screens hanging on our stage — I know the story of the costly perfume etc but I don't think this means that it is OK to have expensive toys and NOT look after the poor).

For years people have asked whether the amount of violence portrayed on American movie and TV screens has anything to do with the growing violence on our streets and in our homes.

But after 12 + hours of sitting on an airplane with barely any space to use my computer, and a bright airplane tv screen that kept me awake the entire time, I couldn't muster enough energy to write anything for Friday.

Now though, sitting in a plush chair in the owner's room, four flat screens shimmering behind him, he is hesitant to take credit, or to say anything of substance on the record.

Yet another player whose masquerading as a United footballer is up there in terms of acting with anything Daniel Day Lewis or Robert De Niro have ever put up on the big screen.

TBH if we take over 5k fans and get anything less than 1500 tickets id far rather by in the town centre all day drinking and singing and having fun with the thousands of other Clarets and locals and just watch it on a screen Understand to some people its all about watching the game and the result b...

And the knowledge, self - awareness, and problem - solving skills children develop through years of hands - on inquiry is of far greater value to them as learners and as human beings than anything they could have picked up by sitting at a screen.

She also enjoys watching great stories on screens of all sizes, shopping online and eating anything salty.

Alas, dear reader, there I have neither the word count nor the inclination to go into the shortcomings of these two but anyone who was witness to la Chakrabarti's performance on Dimbers» weekly bumble-fest will appreciate why I was roaring at the screen every time she did that wide - eyed bambi thing whilst failing to say anything of either intellectual merit or interest.

A 12 - metre, panoramic screen recreates a wide variety of scenarios, meaning trainees could be «virtually» on - site at anything from a small, rural affordable housing scheme, to an inner - city high - rise office development.

«For the first time, we've been able to take a can of spray paint and put a touch screen on almost anything,» said Chris Harrison, assistant professor in the Human - Computer Interaction Institute (HCII) and head of the Future Interfaces Group.

During an early screening of Roland Emmerich's latest disaster flick 2012, which opens today, laughter erupted in the audience near the end of the film thanks to corny dialogue and maudlin scenes (among the biggest guffaw getters: a father tries to reconnect with his estranged son on the telephone, only to have the son's house destroyed just before he could say anything).

They include Dropcloth for Windows, which lays a solid color on the computer screen for all but the specific task at hand (e.g., math problems, a book report, etc.), and Self - Control for Mac, which lets the user block access to websites, mail servers, or anything else on the internet for a predetermined amount of time.

(Other screening tests, including virtual colonoscopies — which rely on X-rays and computer imaging instead of a scope — require a follow - up, usually a traditional colonoscopy, if anything suspicious appears.)

Trying to say anything of substance about this standard - issue spectacle is like mounting a flat - screen TV on a shower curtain.

Though he never wrote anything directly for the screen after 1965, Richard Rodgers was well represented in films by his previous body of work, including filmizations of On Your Toes (1936) Babes in Arms (1939) Pal Joey (1957) and all but three of the Rodgers and Hammerstein stage collaborations.

The depth of the story he tells of Wiseau and his unusual relationship with the filmmaker — guided by co-writer Tom Bissell — is expectedly trimmed when transferring the movie to the screen, and, unfortunately, the background on Wiseau that Sestero details on the page is more interesting and fascinating than anything that made it to the screen.

Vidal continued to feel this way all through Phillips Exeter Academy, and even after his World War II experiences, which planted the first seeds of doubt as to whether those images on screen were reflecting anything resembling real life.

And just as with those films, my mind couldn't help but wander adrift in a sea of thoughts that had nothing to do with anything taking place on screen.

It's another case of technology overriding anything else on screen.

Relying on assumptions and prejudices brought into the film by the audience as much as anything shown on screen, The Loneliest Planet is something of a distant cousin to Roman Polanski's 1962 drama Knife in the Water, where a relationship is threatened and the presence of a mysterious other man is used to unsettle.

Not incredible — certainly no 60 FPS, but instead it runs at a consistent 30 FPS, meaning that if anything, the framerate is better than what you might see from the Switch version running in Quality mode; there are less characters on screen in the 3DS version and it's a much lower resolution of course, but in terms of playability it's not bad at all.

It's not online, local only: one person on the TV using anything from the Wii's classic controllers to Wiimote and Nunchuck, and of course the Wii U Pro, while the other is on the GamePad looking at his screen.

As former «Black Panther» comics author Christopher J. Priest put it on his blog, «We have simply never seen anything at all like this: a huge blockbuster featuring a mostly black cast with effects rivaling «Avatar» and where every dime of that budget is up there on the screen.»

It's actually astonishing that we not only have great actors nailing tricky scenes, and really some stunning, winding camerawork to go with it, but such things as the weaving in of special effects and the utter lack of capturing any of the off - screen crew members who surely must have been around helping with the shoot (that we never see anything we shouldn't in any of the many on - screen mirrors is quite astonishing) only makes this one of the more brilliant efforts at shooting a seamless film since the first in Alfred Hitchcock's Rope.

Doing so forces you to play within tiny areas on either side of the screen and it doesn't really add anything special to playing solo.

In typical space spelunking fashion, players pilot one of a handful of crafts with varying speeds and customizable weaponry as they blast anything and everything that moves on screen into scrap metal.

It all combines into a lulling feeling of familiarity, and you certainly wouldn't be blamed if you drifted into a catnap, or were caught doing mental laundry about something (or anything) else besides what was happening on screen.

That is true though, I was so glad to see her on the screen again and being reminded of her talent again (kinda start to forget it when tabloids are talking some nonsense not relevant to anything).

He sheds a lot of light on the book, his writing and filmmaking processes, music, the actors and anything else that had to do with bringing Perks to life on the big screen.

Did it mean anything that Mad Max: Fury Road, which screened out of competition on Day 2, was still being cited as one of the festival's truly great films on Day 11 (the festival's clôture)?

The Californian - born writer, director and producer has had an almost flawless run of movies since SAY ANYTHING in 1989 and recently brought to the screen the real - life story of Benjamin Mee in WE BOUGHT A ZOO, based on a Dartmoor Zoo that I used to visit as a kid.

In the remarkable animated sequence that dominates the second half of the film, Who Framed Roger Rabbit, the Fleisher Brothers, Fantastic Planet, Looney Tunes, Ralph Bakshi, and Yellow Submarine collide into a psychedelic experience unlike anything seen on screen before.

I was really pulled out of the movie when Andrew Scott appeared on screen, not that he is a bad actor, I just can't see him as anything else other than Moriarty.

**** Zachary F November 29, 2012 this movie is sooo funny Jon C November 29, 2012 a fun, crude, and hilarious comedy two girl roomates formulate a plan to make their own sex hotline in order to make ends meet hijinks and raw laughs ensue between two very different people who embrace their sexuality via telephone the performances from both Graynor and Miller are pretty damn fun to watch the dialogue is insanely funny and gratuitous there's a very strange cameo in here too by Nia Vardalos Justin Long adds a nice touch being the supporting gay best friend mentoring these two girls it's just very awkwardly humorous listening to these people talk in this kind of film, there's interestingly no actual sex happening on screen, no boobs, no ass, no exposed body parts the plot mainly focuses on the bonding relationship bewteen the two leads which is a good break from the usual norm we're used to I can't help but feel though that the filmmakers didn't have anything left at the end, some of it felt unfinished and unresolved for all those problems, «For A Good Time, Call..»

If you do struggle with any of puzzles, there's a handy hint button at the bottom of the screen with an appropriate cool - down timer, however I found that I was rarely stuck on anything more than a few moments.

Well, Gleeson has to figure out what he needs to make himself happy, and what others in his life need to make themselves happy, but since we don't care about any of the folks on screen, it's a crisis in storytelling more than anything else.

April 15 - 16, 2016 A Discussion of the Past, Present, and Future of Christian Film Criticism; An Interview on the Influence of Religious Faith on Fantasy Writing; and Hosting a Screening of Something, Anything and Interviewing Director Paul Harrill Calvin College Festival of Faith and Writing; Grand Rapids, MI

Combining elements of swing, jitterbug, break - dance and the Lindy Hop, these numbers shimmer with unbridled joy and a pure, pleasing energy unmatched by anything else on the big screen this year.

The amount of blood is equals the first, if anything there is more but the actual choreography is simply sublime with easily some of the best put on to screen over the past few years.

Colours are vivid and even though it has the current trend of a blue tint, colours pop off the screen especially during the Icelandic part of the movie, if anything it looked better on Blu - ray than it did at the cinema.

And that longing may in fact be the very foundation of Lowery's work — the reason it is more feeling than movie, more cinematic emotion unfolding on screen than anything else.

Of course the ferocious beast is cheesy CGI, but the way it moves and attacks is unlike anything ever put on screen in the history of special effectOf course the ferocious beast is cheesy CGI, but the way it moves and attacks is unlike anything ever put on screen in the history of special effectof special effects.

Costigan spends years working for Costello, unencumbered by the legal restrictions of being a sworn policeman, but he's never forced to do anything that truly repulses him; his only on - screen transgressions are a few beat downs of scumbags who have it coming anyway.

«Perseverance is tied to storytelling more than anything else,» Redford quietly urged the room of almost 200 filmmakers who will spend the next few days seeing years of labor on a big screen.