Sentences with phrase «often scene by scene»

Kung Fu Panda Year: 2008 Directors: Mark Osborne, John Stevenson Like Stephen Chow's Kung Fu Hustle, DreamWorks» Kung Fu Panda punctuates its light - hearted, comedic tone with surprisingly poignant moments along with nonstop homages to a giant list of truly classic Kung Fu films, often scene by scene.

Not exact matches

At times feeling like a stage play, «The Post» is fueled by the performances of its incredible cast — including Tracy Letts, Carrie Coon, Bradley Whitford, Bruce Greenwood, Alison Brie, and David Cross — but often the scenes drag on too long.

All too often, however, the present situation is epitomized by a memorable scene: Adjacent to a church was a restaurant whose kitchen equipment evidently needed attention.

ALMOST FAMOUS showed us that the rock scene is characterized by an intense desire, often wildly erotic, to bask in the fame, mythology, and what I've called the democratic heroism of the rock stars.

Generally speaking, Daniel Dennett's method in all his books is too often reminiscent of the forensic technique employed by the Snark, in the Barrister's dream, to defend a pig charged with abandoning its sty: The Snark admits the desertion but then immediately claims this as proof of the pig's alibi (for the creature was obviously absent from the scene of the crime at the time of its commission).

By «genial coincidence,» as Coleridge might have formulated it, the scene that metaphorically launches German Romanticism is repeated almost exactly some sixty years later by Herder's more famous (or notorious) compatriot who is often regarded as having pushed Romantic aesthetics to its very limitBy «genial coincidence,» as Coleridge might have formulated it, the scene that metaphorically launches German Romanticism is repeated almost exactly some sixty years later by Herder's more famous (or notorious) compatriot who is often regarded as having pushed Romantic aesthetics to its very limitby Herder's more famous (or notorious) compatriot who is often regarded as having pushed Romantic aesthetics to its very limits.

Nothing at a racetrack stirs chaos and confusion like a loose, catastrophically injured horse — they are often in a state of panic — and by the time Dr. David Zipf, the track veterinarian, arrived on the scene, Richardson had spent several anxious minutes trying to keep the filly steady and calm.

They will be drawn in by the spooky nature of the skull masks and calacas - skeleton figures often dressed as famous characters, wrestlers, or in fancy costumes and set into silly scenes.

Campaigns often try to reach blog readers by connecting with authors behind the scenes to pitch stories and influence coverage.

The union is highlighting the role played by private security officers (10 of the 24 32BJ members who perished held that job), who the ad says serve as the public's «eyes and ears» because they're often first on the scene of emergencies.

But others, especially those who rebel rarely if at all, will tell you that it is possible to work perfectly effectively within the confines of the party system; indeed, they will claim that by rebelling MPs often diminish the clout they can have with the leadership and that working behind the scenes is more effective than going public with disagreements.

But in contrast to Chagnon's focus on warriors» reputations, Macfarlan found that the key advantage held by unokais was that they «are plugged into this social scene» that allows them to make strong alliances outside of their immediate paternal family, often in different villages.

Equally important, adequate protection — specifically respirators — were often not used or used incorrectly by first responders and others at the scene, according to the National Institute of Environmental Health Sciences, even though by September 22, the EPA had supplied more than 22,000 air purifying respirators to workers at the site.

It seems that I am often pleasantly surprised by what I see in the Detroit fashion scene and I was so impressed again with how many talented people are in Michigan in general, and in the Detroit area in particular.

In a world that's often rocked by dramatic breakups and infidelity, it's always nice to hear some good news from the celebrity dating scene.

More often than not people are looking to find love with someone who lives close by and for those who have been out on the Grimsby dating scene and unable to find a suitable match then sign up and let us show you how it is done the eHarmony way.

Whether you are visiting the country for the first time, you go to France quite often, or you are a local who is tired of the traditional dating scene, a simple solution to this problem is by joining a French dating site.

(Teller's typically solid work here is often overshadowed by Hill's scene - stealing turn as the larger - than - life Efraim.)

Fincher reinstalls the concept of the personal (not to mention the visceral) to the often - depersonalized prose that accompanies media descriptions of serial murder; It is not enough to read or hear that a victim was tortured; Seven grabs the audience by the scruff of the neck, turns its collective face to the murder scene, and unrepentantly compels its members to contemplate what the concept of torture really means.

By then you realize that the filmmakers are ticking every incident in the life off a checklist rather than shaping a coherent narrative, an approach that leads far too often to the dreaded Artful Montage and scenes of the writer typing away while murmuring in voice - over ``... it was a perfect day for bananafish.»

As directed by Anthony and Joe Russo, the action scenes are often incomprehensible, which means that far too much of the film is spent waiting for the action to die down so we can see who is left standing.

Though the men's trip through Europe has a few moments of mischievous salaciousness, especially an unexpectedly sensual sequence in an Amsterdam dance club, these scenes are often shackled by a detached, hermetic quality.

The fight scenes are impressive, the straight - acting scenes less so: though he was capable of delivering a good performance, Steele often as not ran the emotional gamut from A to B. Arizona Gunfighter was one of several Steele westerns produced by A.W. Hackel for Republic release.

Lincoln often appears in the film as the irresistible monument to folksy decency that we know from the simplified myths of our school history books, and Spielberg exploits these scenes for all their iconic worth, often visualizing the president as a ghostly totem burdened by the secret knowledge of his pivotal destiny in the story of American reform.

It's an often - awkward niche film enlivened by impressive on - field action scenes.

These ambitions are often heavy - handed, and sometimes extremely goofy, such as an early scene where Lucy being roughed up by goons is juxtaposed against a pack of lions pouncing on their prey in the jungle.

Scenes are often hilarious and heartbreaking, like when Marlo defeatedly removes her tattered blouse at the kitchen table, soiled by spilled milk, and her children stare at her bulging gut in horror and beg, «Mommy, what's wrong with your... body?»

Compositions will often be centered, as a slow zoom or pullback reveals the scene, little by little.

Although beautifully shot by Soderbergh himself, too often there are scenes that seem to have the sole purpose of creating a snapshot similar to the iconic imagery with which we're already familiar.

Glitter - filled, chaotic, and often bizarre (one key emotional scene is acted out by two young girls playing with Barbie dolls, a nod to Haynes» earlier Superstar: The Karen Carpenter Story), Velvet Goldmine nevertheless possesses a wonderfully observed humanity to go with its aggressive experimentalism.

Trailers and TV spots released for the film so far have focused largely on selling it as having more of everything that moviegoers (by and large) enjoyed in the first Sherlock Holmes - including, many a scene with Holmes (Robert Downey Jr.) being clever and kicking ass, often with the assistance of Dr. John Watson (Jude Law).

It's difficult to say if the movie is supposed to be a mystery, thriller, romance, comedy, drama, or action, changing directions quite often, while scenes go by without any real connection with the scene that comes before.

There are many modern examples of rich, hot messes catered to by behind - the - scenes people generously compensated to look after them, often ending with premature death and glamorized legacies.

The film is bolstered by Max Richter's orchestral score, often soaring, and photographer Rob Hardy's use of outdoor scenes, where the movie was filmed in London, Oxford and Yorkshire.

The sex scenes are also handled with a frankness and intimacy that you don't see in films too often, and that, coupled with a pair of superb performances by John Hawkes and Helen Hunt, is what makes «The Sessions» such a real joy to watch.

Alas, the plot does rear its ugly head all too often, especially in a very tiresome finale on top of «Mt. Richmore», which is meant to echo a similar scene in Hitchcock's North by Northwest, a film that is paid homage to at least twice (a television shows the famous crop - dusting scene, perhaps as a bit of foreshadowing).

The film also weaves in lots of scenes that are meant to make us think that Barnum was the first 21st century - style «woke» white straight man in America — a goodhearted fellow who gave circus jobs to outcasts of one kind or another (talk about a big tent: the repertory company includes African - Americans, little people, giants, conjoined twins and a bearded lady), not just because they happened to possess certain talents or physical characteristics that Barnum could exploit (often by appealing to the majority's prurient interests or bigotries) but because the onetime poor boy Barnum sees himself in their striving, and wants to build a theatrical - carnival arts utopia in America's largest city with help from his new partner, rich kid turned playwright Philip Carlyle (Zac Efron).

But Focus will need to make some nifty marketing moves to reach them; despite the age and appeal of the cast, the dialogue is often expressed in a kind of stylized formality, while art house touches like a scene backdropped by «Ave Maria» and an upper - crust manor setting can belie the film's quicker, looser rhythms.

Jackie is a film that often looks and plays like a feature - length expansion of Lana Del Rey's JFK - themed «National Anthem» music video: The scenes of the late president — played, interchangeably, by Brody and Aiden Weinberg — are no less fleshed out than those with A$ AP Rocky in the role.

It often takes hearing a screenplay read by actors to see how the characters come to life and to see which scenes play well and which are problematic, as well as to experience live how the structure of the screenplay builds the story or where it doesn't engage the audience.

And it's a shame that misgivings about its final scenes threaten to overwhelm what is otherwise an undeniably satisfying and suspenseful chamber drama bolstered by punishingly effective sound design, an often menacing score from Bear McCreary and excellent leading turns from Mary Elizabeth Winstead and John Goodman.

There are easily seen reproductions of earlier scenes in the film, the hiring of doppelgangers to play many of the characters previously seen; such as the in - joke of hiring a character played by Emily Watson — an actress often mistaken for Samantha Morton in the industry — to portray Hazel's doppelganger.

Typical for modern films of this nature, the action scenes are filled with shaky handheld cinematography and rapid cuts that mean there often isn't a single well - framed shot in the whole sequence (and if there is it lasts about a nanosecond before being replaced by one that isn't).

The jokes are also zippy enough, each scene often accompanied by a catchy song that subconsciously makes you forgive the movie's more glaring flaws.

Sadly, these often strong scenes of the family's interactions with one another are undone by the film's constant need to cut away and remind us of the larger plot involving the hitmen and thus sacrificing where its strength lies in order to set up and build toward its damp squib of a finale.

And the film's monochromatic quality and frequently static scenes give it a sort of flatness; I found myself often distracted by trying to figure out which voice actor was which, rather than following the story.

Train scenes by Billy Wilder (in Double Indemnity, 1944) and Alfred Hitchcock (in several works) suggest that some encounters, often leading to death, can not be avoided.

There's genuine tragedy, heartbreaking confrontations, and sharp humor, often side - by - side in the same scene, and yet it all feels perfectly balanced.

The film lives and thrives on these whiplash moments; it seems as if Wong hadn't yet perfected the languor that I love so much about his films, and so there is no small thrill in the chases, or the extended scenes of almost sadomasochistic violence inflicted on and by Wah (often shot in extremely long slow motion shots), or of course the unspoken flirtations.

In a relatively small cast, which probably aided the reshoots, Wahlberg performs to the same level that saw him impress in The Departed and The Gambler, getting a nice grandstanding scene with Plummer, and as Chinquanta, the self - appointed leader of the kidnappers, Romain Duris excels by giving an extra dimension to a role that can so often conform to one - dimensional stereotype.