Sentences with phrase «of dialogue scenes»

Director Tony Scott keeps the storytelling interesting and the majority of the dialogue scenes camera - trick free.

Much of «True Story» consists of dialogue scenes between Michael and Christian in which the two play cat - and - mouse games to get what they need from each other.

I wish I had a couple of dialogue scenes with him.

There are a remarkable number of actors involved in some of the dialogue scenes you mentioned.

The negative (and variant takes of dialogue scenes) and original soundtrack recordings are long lost and the surviving prints are slightly different from one another (not just because of language differences, but censorship, damage, and even Dreyer's own recutting after the disastrous premiere) and incomplete, not to mention well worn and scratched and faded.

Some of the dialogue scenes, in fact, can be hard to track, precisely because Favreau apparently coached Downey to say whatever came into his head, no matter who was speaking or what was being talked about.

The race sequences are well - staged and interesting, but a lot of the dialogue scenes in between are forgettable, and the running jokes don't really work.

Not exact matches

«There's a scene in Breaking Bad «s first season in which Walter White's hoodrat lab assistant Jesse Pinkman (Aaron Paul) tells Walter he just can't «break bad,» and — when you first hear this snippet of dialogue — you assume what Jesse means is that you can't go from being a law - abiding chemistry teacher to an underground meth cooker... But this, it turns out, was not Jesse's point at all.

The present political situation in Latin America has generated so much heated debate about the Church, the «sects,» and religious freedom that it has become necessary to take a closer look at the existing religious scene, including Pentecostalism, if we are to build a coherent theological overview of the region capable of generating serious ecumenical dialogue.

The secret is in the script, which balances spine - tingling scenes with ones that tickle the funny bone with quick - witted dialogue and a touch of melodrama.

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).

The script of the film stays the same but the director — the histone mark — can choose to eliminate, slow down or speed up certain scenes or dialogues, altering the film for better — cancer cell death — or worse — cancer cell survival.»

Lots of action, tons of fight scenes, and little dialogue.

That being said, the dialogue stands out as super strong — loved the Lloyd scenes — and the themes at play here get full range in terms of execution.

List of the best Joe Dirt quotes, including images and videos of dialogue from each scene when available.

There are a couple scenes of good dialogue, but the movie fails at anything beyond that.

Kevin Spacey is unbelievably creepy in all scenes he's in and nails all of his dialogue.

Nevertheless, even being able to understand only 60 % of the dialogue in some scenes, it pretty much works.

No recent movie about The Troubles gives the audience the emotions, the pure hatred between the two forces, with the impact of «' 71,» the credit going not only to Jack O'Connell, known to us mostly for his role as the rebellious prisoners in «Starred Up» (never mind that the dialogue was largely indecipherable), but also to director Yann Demanage for setting up realistic seeming fight scenes, a series of breathless chases, and a sense of neighborhood that Demange found not in present day Belfast but in the English town of Sheffield.

also, some of the dialogue is a little headache - inducing, especially in scenes that are particularily difficult and that have to be replayed a half - dozen times.

But «Philadelphia» doesn't handle that transitional scene with lame dialogue or soppy extrusions of sincerity.

When you have dedicated episodes of these guys taking shelter from a storm, an entire episode with an awful hipstery filter fest, even more cringy dialogue and ridiculous death scenes that mean nothing other than just being shocking and violent; well that's when the show suffers.

There's a naked, drunken stumble through woods and Violet suffers a few painful slapstick moments, but there are also long scenes of dialogue while the couple gently argues in bed, moments of domesticity that feel quite real despite the glossy romcom surroundings.

Some of the dialogue and scene choices were terrible.

Some of the acting is pretty bad, mainly with the brother / preacher and the first wife (but her problem is the corny «gangster» dialogue she spouts off), but Paul Muni is quite good, especially in the scene that closes the movie.

John Lithgow is excellent... it's a tribute to both his acting and the writing (as sharp and tight as ever) that many of his scenes have only three or four lines of dialogue, but resonate deeply and give you the creeps (especially a scene where Lithgow picks a fight behind a bar).

The old time dialogue only brings out the confusion this movie brings to the table, and between that and the nearly pitch black scenes, many parts of

The repetitive, insincere, and ultimately pointless dialogue in this crucial scene thoroughly tinges one's impression of the whole film.

Good: Starscream is a lot cooler in this movie, Best computer - graphics for any movie to date, Original Optimus voice, Bumblebee vs. Barricade scene was awesome, Decent story, but the Unicron story is a million times better Bad: No Hot Rod or Soundwave, Shia LeBeouf, Ending, Futile attempts to connect to classic scenes, lines and concepts, No Stan Bush soundtrack, Some immature humor ruined a lot of the movie for me, Poor dialogue I really expected a lot from this movie and am very critical about my feelings towards it - Overall Michael Bay made a good movie, but he made it appeal to the masses (immature jokes and a lot of action) and it gave up a lot of other crucial aspects to the story and quality of the Transformers franchise.

Even when the director takes it too far — unceasingly pushing his camera through hallways and into ringing phones, or tilting up to the ceiling and spinning around a morally conflicted Graham — his curiosity is never less than winning, and his direction has rarely felt so energetic, giddy with scenes of overlapping dialogue and deftly orchestrated, impromptu conference calls.

Like most of the more notable critics have pointed out; no personality is to be found among the Decepticons (the least they could've done is to synthesize StarScream's rasp to throw the fans a bone for God's sake), an overly active camera and «busy» robot models make some action scenes little more than a confusing blur, and goofy, unfunny dialogue permeates the story.

Dialogue, characters, locations, scenes and even the outcome are vastly altered, and the whole character of The Joker can either be a deranged friend or a deadly foe.

The dialogue as a whole is very cheesy, to the point of being comedic in some scenes and the fact that the robots have different human accents is ridiculous.

Uprising is long, has yawn - inducing action scenes, terrible dialogue, a contrived plot that makes ZERO sense, and commits that most hated crime of horror movie sequels - returning beloved characters from the original only to kill them or turn them into forgettable villains.

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.

Rated NC - 17 for a scene of explicit sexuality.; Rated R for a strong sex scene, strong language and sexual dialogue, and for a violent image.

Dornan fought so valiantly with his dialogue in parts one and two, but in this one he just looks spent, playing his scenes with a thousand - yard stare that reminded me of Cillian Murphy's PTSD - stricken soldier in Dunkirk.

One of many interesting stylistic choices by director Irvin Kershner and cinematographer Haskell Wexler, who shot the film in gorgeous high contrast black - and - white with the warts - and - all insouciance of a documentary, is to present this reunion scene sans dialogue (which is buried by train noise)-- with Billy and Pio framed in the oval window of the train door.

there were a few moments where just a little more dialogue would have improved certain scenes and the film was not without a few of the cliches of this genre, but overall it stands as a personal favorite of mine.

It is one of the many powerful scenes that uses the space in between dialogue to have the power.

There's no dialogue in Julian Rosenfeldt's Manifesto, just recitations of manifestos about art — plus the excerpt from Karl Marx and Friedrich Engels's Communist Manifesto that kicks off the first scene.

A drippy romance, spending the vast majority of its time in private, two - hander scenes imagining inane dialogue between a dead Princess and a famously reclusive, private surgeon; it only exists because it knows neither of them is going to complain.

Rated R for strong language, including sexual dialogue, and for some scenes of sexuality and drug content.

The unrated version only adds about 8minutes of extended scenes / dialogue, but no gratuitous nudity or language is added as might be expected.

Likewise, there are some scattered great scenes, including a couple of final - act twists that are just plain uncomfortable to watch, with the sharp dialogue of Letts shining through as the various schemes begin to unravel.

It feels like every script - reader in the Italian - Swiss - German - Albanian - Kosovo coproduction cut out a line of dialogue in each scene, leaving behind an irritating silence and an enigmatic puzzle for the audience to second - guess.

Likewise, offbeat choices in the film's look and sound add edge from time to time: In a scene set in a cramped turkey barn, a cacophony of bird noise eerily eclipses the dialogue, suggesting the animal chaos behind the veneer of agrarian Americana.

Picking up for the late Sally Menke, editor Fred Raskin replicates the precise in - and - out - rhythms she managed in Basterds» dialogue scenes; the cutting never feels rushed, even when we're ping - ponging between multiple perspectives in a dinner - table showdown that employs DiCaprio to deliver one of Tarantino's signature extended soliloquies (complete with a faux Yorick skull).

There are entire scenes that consist of nothing but screamed dialogue, and it becomes overwhelming.

The supposedly cunning protagonist registers as a cipher, and the directors» tendency to shoot dialogue scenes in close - up blunts any understanding of the social milieu he's trying to conquer.