Not exact matches
This bread was the
only thing that kept me from googling «what happens if I hit my head on the temple», because we all know Youtube would pop up and THAT
scene from Simon Burch would pop up, and then I would cry, and then I would call my husband and freak out, and then I would probably eat the whole loaf of bread
in the corner of my closet watching the
movie... crying.
And make no mistake, Sunday's was the best Dinah Shore finish
in memory, sort of like the final
scene in one of those old Hercules
movies in which everything comes crashing down around the hero and
only he is left standing.
He will spend
only two days on set, he doestnt care about the length of the story line, he won't allow you to shoot his
scenes at night and he decides which actors and actresses you feature
in the
movie.
It should come as no surprise that nanotech hits many of the fear buttons
in the psychometric paradigm: It is a man - made risk; much of it is difficult to see or imagine; and the
only available images we can associate with it are frightening
movie scenes, such as a cloud of robots eating the Eiffel Tower.
Only movie stars and select consumers have been able to get their hands on hydrogen fuel cell vehicles
in the United States over the past few years, but now these zero - emissions cars are poised to bust onto the
scene in a big way around 2015 to 2017.
«Now it is possible to film the
movie scenes outdoors and not
only in the studio.»
She's certainly kept
in shape over the years, and she's the
only one actually trying to act
in this
movie, but it's still a little depressing to see a well - known TV star grimacing her way through whipping
scenes.
Tim Burton's direction is fantastic — the
only scenes he doesn't wow with are the ones both he and the viewer are bored with — Danny Elfman's score makes the
movie in a way no one's done since John Williams and the original Star Wars trilogy, Michael Keaton's mesmerizing and there's a whole lot of good stuff.
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.
The catalyst for the dancing ban — a tragic car accident that's
only hinted at
in the original
movie — is heavily emphasized
in the opening
scenes of the remake.
If the guard is not precisely self - aware, he does make the act of torture (and murder, which becomes a natural extension) into a
scene you might recognize, not
only from other
movies or stories about torturers, damaged souls
in need of punishing or saving.
They spice it up once
in a while with green and orange, but it's all very simplistic and i feel that if they had made it to a bigger scale it would have felt more like the
movie, instead of showing us all the big set pieces
in cut
scenes only.
I chuckled just twice, at random references to Harrison Ford and Orson Welles, which come
in succession
in one of the
only scenes of the
movie that has a good energy.
My
only main complaint for this
movie is the frat boy
scene in the comedy club.
The likelihood that the Rampage
movie will be reverse - engineered to produce a videogame is probably already a foregone conclusion, so the
only question is whether it will arrive before the likely sequel that's set up
in the final
scene.
In a handful of
scenes he gives the
movie the
only real edge it has.
Those who criticized Portman
in GARDEN STATE will likely have a field day with Hudson's similarly saintly character, although Hudson's able to give her a bit of an edge, and has easily the
movie's best
scene where she comforts and confronts Patinkin's miserly dad, who earlier puts her down for
only being half - Jewish, and encouraging her husband's idiotic dreams.
But Last Days works
only when it deviates from this pattern, as it does
in a hilarious
scene depicting the rock star's friendly yet indifferent agreement to buy space
in the yellow pages from a clueless door - to - door salesman (Thadeus A. Thomas, the
movie's
only perfectly cast actor), or when it focuses on other members of Blake's entourage, or when the camera retreats at a snail's pace from the mansion for what feels like eternity.
It might be hard to imagine but Luke Evans
only arrived on the Hollywood
movie scene in 2010.
With the news a couple of weeks ago that the main X-men franchise would be bringing back the main First Class team (Michael Fassbender, James McAvoy, Jennifer Lawrence and Nicholas Hoult) plus some of the younger mutants introduced
in Apocalypse, for X-Men: Dark Phoenix, there's now word that another mutant, one
only hinted at
in a deleted
scene from the latter
movie, will debut.
In the film's best
scene, M & M make love inside a car during a sandstorm: It's like Lawrence of Arabia as a date
movie, or maybe The English Patient,
only vehicular instead of aerial.
Like Carell, she is convincing
in the tennis
scenes — augmented by special effects, both actors create the illusion of playing at a high level — but, more importantly, she captures the fighting spirit of King, who, as the
movie opens, is beginning to realize that she can be true to herself
only if she does two things.
I bet the
only scenes that made the actual cut of this
movie was the ones the main actors manage to stay
in character.
Last night, my wife, daughter and I took
in Black Narcissus at the AFI Silver and enjoyed it as much as we always have (
only more so because it was
in the gorgeous main theater projected on a huge screen) and afterwards I started thinking about
movies with very famous
scenes, so famous that most casual film goers might know it (or have a vague sense of familiarity with it) even if they don't know the
movie.
In an early scene, after Nick has saved the life of a yakuza in prison and has been rewarded with his freedom, he encounters a corrupt and loudly racist American bureaucrat (Rory Cochrane) still in Japan after the War (have I mentioned that we're supposed to be only a handful of years post-Hiroshima in this movie, even though the aesthetics all scream contemporary?
In an early
scene, after Nick has saved the life of a yakuza
in prison and has been rewarded with his freedom, he encounters a corrupt and loudly racist American bureaucrat (Rory Cochrane) still in Japan after the War (have I mentioned that we're supposed to be only a handful of years post-Hiroshima in this movie, even though the aesthetics all scream contemporary?
in prison and has been rewarded with his freedom, he encounters a corrupt and loudly racist American bureaucrat (Rory Cochrane) still
in Japan after the War (have I mentioned that we're supposed to be only a handful of years post-Hiroshima in this movie, even though the aesthetics all scream contemporary?
in Japan after the War (have I mentioned that we're supposed to be
only a handful of years post-Hiroshima
in this movie, even though the aesthetics all scream contemporary?
in this
movie, even though the aesthetics all scream contemporary?).
And Alan Rickman, back as Professor Severus Snape
in only a handful of
scenes, manages to steal great portions of the
movie with his carefully metered, acid line readings, like a cloaked version of Meryl Streep's Miranda Priestly.
The latter
only has two real
scenes in the
movie, but Toah (who likely wrote most of his own dialogue) is simply hilarious.
And the script relies way too heavily on rude, tasteless humor (especially
in the final half hour) and over-the-top /» shock - value»
scenes, which come - off as desperate and absolutely ridiculous — including an insane brawl
in the middle of a street between rival scout troops (that you'd
ONLY see
in the
movies) and an awful climax involving a rival business mogul (Peter Dinklage).
However, I haven't seen the
movie yet and as uninterested as I am and sure I am that it is a horrible
movie I do think that the
only thing I expect to be okay is Doris Roberts and the
scene where they play a match of Street Fighter with two characters
in the
movie.
Lee Valmassy has a lot of fun letting loose as the gleefully farcical villain (a mohawked, golden - grilled gangster who
only wears jumpsuits), and Art Hsu turns
in a
scene - stealing performance as the hero's duck - loving sidekick, but while fans of bad
movies might appreciate what «The FP» has to offer, it's not exactly the ready - made cult classic that it's so desperately trying to be.
I laughed at the wordplay
in the film but wasn't expecting the widespread tautological eruptions that followed the film's premiere as everyone bent themselves into self - affirming pretzels to debate its portrayal of torture
in the film's opening
scenes as if there were
only one way to look at the damn
movie... as if torture were the
only thing worth discussing about the film!
But with these two
movies — one set against the backdrop of the
movie biz, the other
in the music
scene — shooting last year back - to - back, we can
only imagine the unbelievable stack of footage Malick's teams of editors are sorting through, as they cut half the cast out and help him find the
movie and tone he wants.
The
only other
scene worth the film it's printed on is Colin Farrell at the supermarket, accosting the pharmacist (a snippet of which you can see
in the closing credits of the
movie).
The mother and the 7 homeschooled children, 6 boys and 1 girl, are essential prisoners
in their own home, where the boys»
only relief and
only window to an outside world lies
in the access they are granted to recorded
movies, which they constantly watch and then elaborately reconstruct, acting out
scenes from the likes of Reservoir Dogs, Pulp Fiction, and Goodfellas.
He also said «There are
only a couple of
scenes on Earth
in this
movie; 80 to 90 percent takes place
in the cosmos,» which is a reasonable explanation for why she doesn't fit
in the story.
Especially
in this
movie, where there's a couple who have been married for 20 years and has two children and the
only sex
scenes are between the couple.
Dinklage, who you may remember from «The Station Agent» (and if you don't, that is the next
movie you should rent) plays a gay dwarf who not
only steals every
scene he's
in, but pawns it and buys more
scenes and walks off with them, too.
It could be argued, of course, that any
movie that exposes
in its first two
scenes its abject dependency on another
movie released
only nine months earlier has to be
in some kind of trouble, but
only if freshness rather than box - office success is the issue.
In fact, the only real story in story mode is in the prerendered movies between chapters, and while they're bordering on well made (the modeling and art style are high quality, but apparently the motion - capture budget was used only for the game itself, as the animation is done by hand and sometimes isn't that good), they are mostly just a series of scenes that show the next boss character preparing to try to destroy the heroe
In fact, the
only real story
in story mode is in the prerendered movies between chapters, and while they're bordering on well made (the modeling and art style are high quality, but apparently the motion - capture budget was used only for the game itself, as the animation is done by hand and sometimes isn't that good), they are mostly just a series of scenes that show the next boss character preparing to try to destroy the heroe
in story mode is
in the prerendered movies between chapters, and while they're bordering on well made (the modeling and art style are high quality, but apparently the motion - capture budget was used only for the game itself, as the animation is done by hand and sometimes isn't that good), they are mostly just a series of scenes that show the next boss character preparing to try to destroy the heroe
in the prerendered
movies between chapters, and while they're bordering on well made (the modeling and art style are high quality, but apparently the motion - capture budget was used
only for the game itself, as the animation is done by hand and sometimes isn't that good), they are mostly just a series of
scenes that show the next boss character preparing to try to destroy the heroes.
Playing the younger version of Michael B. Jordan's nuanced villain for
only a few minutes, the young lad was
only on screen briefly at the start of the
movie,
in a flashback
scene and for a longer - speaking part
in a poignant dialogue
in the ancestral plain (trust us, it makes sense
in the
movie).
The interrogation
scenes between Csokas and Carrey are the
only moments with actual tension
in the
movie.
It's not a coincidence that the
movie's best, most moving
scene is between these two; tellingly, it may also be the
only one
in which Keith himself does not appear.
No trailers for this or anything else are found on a scored, static menu reproducing the Sunshiney cover art with
only Play
Movie, Subtitles, and
Scene Selections
in the way of options.
In particular the scenes which involve Radagast the Brown (Sylvester McCoy) a wizard who is only mentioned briefly in the book has been given a subplot in this movi
In particular the
scenes which involve Radagast the Brown (Sylvester McCoy) a wizard who is
only mentioned briefly
in the book has been given a subplot in this movi
in the book has been given a subplot
in this movi
in this
movie.
It's a
scene that evokes Hitchcock,
only the Master usually presented it at the end of a good
movie, and one
in which we had an interest
in by the time the climax occurred.
The film is at its most fascinating point
in the early
scenes, with presumably distorted face makeup on actress Agostini, who delivers the
only real noteworthy acting
in the entire
movie.
It
only gets better from there, throwing us right into a crucial
scene in the
movie, where we see these actors as their Vietnam counterparts.
Meatballs Part II is
only notable for early film appearances from future stars Paul Reubens (Pee - Wee's Big Adventure, Cheech & Chong's Next
Movie) and John Larroquette (Richie Rich, «Night Court»), and look quick for comedienne Elayne Boosler playing mother to a young Nancy Glass («Inside Edition», «American Journal»)
in one
scene.
The
movie will
only have three long
scenes, each before the launch of important Apple products, including the debut of the Macintosh
in 1984 and the first iPod
in 2001.
Wiseau said he would
only allow his story to be told if he got to act
in a
scene with Franco, but since it was deemed impossible to work Wiseau into the actual plot of the
movie, the
only solution was to film a standalone
scene and tack it on to the end.