Sentences with phrase «out of scenes almost»

However, the original Japanese version of the movie doesn't have a central character of any sort to anchor the story; even Godzilla himself seems to be a bit actor in his own movie, walking in and out of scenes almost randomly.

Not exact matches

Almost without fail, he turns his back on representational scenes, opting rather for abstract, geometric patterns out of his feeling that traditional biblical scenes or saintly figures create a distraction to true worship.

One scene is set with a full moon hanging low over a grove of pine trees that's almost cut and pasted out of E.T. Where Stranger Things wanted to remind viewers of their childhoods (or of the media their parents and older siblings loved) Guardians 2 seems to want to compare itself to every piece of 1980s pop culture, and come out on top.

It was almost too much to bear: the absolute ordinariness of the scene, which would remind any of us of our own desks and unfinished projects, combined with a fear that she might not be back to finish things up, to clean the dust off the tape dispenser and wash out the water bottle for another use.

From Buffalo's classic Anchor Bar wings (home of the original Buffalo wing) which single - handedly transformed the American game day diet to Mighty Quinn's chili lime smoked wings — a relative newcomer to the New York wing scene — which Time Out NY named one of the «Best New Wings in New York City,» our favorite wings are fully prepared and require almost no prep.

When I look out my window I have to keep reminding myself that it's almost the middle of April because my eyes see a scene from February.

After launching with just 100 boxes, Lucky Dip Club now sends out over 1,000 boxes a month, and enjoys almost cult - like status on the craft scene, with legions of devoted fans setting their alarms for the early morning launches and sharing their Lucky Dip Club snaps across social media.

Then disposable diapers came into the scene and they cut the options down to one, pushing cloth diapers out of the picture almost completely.

Blair said he was so concerned about the prospect of Britain plunging out of the single market that he could even return to frontline politics himself, saying: «I look at the political scene at the moment and I almost feel motivated to go right back into it.»

Besides all the bling brought to us by celebs decked out in gold and silver, we were also treated to a lot of sparkle courtesy of some heavy embellishments along with eye - catching jewelry that almost upstaged a few gowns (not to mention a couple of scene - stealing hair accessories).

I am in my 40's, and have been dating for a couple of years, after being out of the scene for almost 2 decades.

And while some scenes do portray a gratuitous amount of almost Tarantino - level violence that comes out of nowhere, most of Gangster Squad's violence feels justified, and redemptive, echoing a theme of the film that makes it more fun than your average action fare: heroism.

Zahler takes his time with almost every scene, letting a sequence of O'Dwyer changing the dressing on his injured leg, for example, play out in its painful entirety.

Jordan Peele, who scored two personal nominations for best director and original screenplay, as well as two more nominations for «Get Out,» seemed almost stunned, reacting with a gif of Kaluuya in one of the film's iconic scenes and asking «What's the opposite of the sunken place?»

Jordan Peele, who scored two personal nominations for best director and original screenplay, as well as two more nominations for «Get Out,» seemed almost stunned, reacting with a gif of Kaluuya in one of the film's iconic scenes and asking...

The music occasionally, almost out of luck, sets the right mood, but most of the time just makes for awkward dialogue scenes and a composition clash of sound and visuals.

Director Steven Soderbergh shoots those dance sequences with dynamic flourish (The camera is almost always moving in ways that punctuate the actors» motions) and plenty of polish (The stark contrast of the darkened house of the club with the perfectly lit stage is itself a contrast to Soderbergh's washed - out cinematography for the scenes outside of the club).

It's downright pornographic, and the force of the scene almost seems to emanate from the sense that the erotic power between the two was out of even Hitchcock's control.

The ways in which this movie contrives so many familiar scenes out of its double threat, though, are almost impressive in how predictable they are.

An almost unrecognizable Michael Chiklis is the way too sensitive assistant coach, and Laura Dern's best scene, as Bob's wife, is a bizarre monologue which comes out of nowhere and doesn't fit at all.

Fuqua has a lot of fun playing with the clichés / tropes of westerns and succeeds in producing a fun movie that is most notable for having a uniquely integrated Seven — and least notable for having a villain who is an unmodulated black hole of evil that sucks the energy out of almost every scene he's in.

But as was made public well before the film's release, Singer had to cut a lot of footage to get the film to an acceptable theatrical length, and in doing so he cut out almost all of Anna Paquin's scenes as Rogue.

By the time we did that scene it was almost like an out of body experience.»

Our reviewer pointed out that the film's flaws — namely, some credulity - stretching contrivances — are almost wholly redeemed by how they lead to scenes of interplay between these two actresses.

Most of the stuff I find myself creeped out by no matter how many times I see it (e.g., Cure, the Winkie's scene in Mulholland Drive) is just on the border of the irrational, but slasher movies — in which the narrative is almost always a process of elimination — are really easy to rationalize, which is probably why there's so much academic literature about them.

Robots, Hoodwinked, Wallace & Gromit: The Curse of the Were - Rabbit) seems desperate (and yet strangely half - hearted), and many of the out - of - hive scenes are almost Simpsons-esque in their lack of sparkle.

Rossi wrote a script exploring the most gruesome depths of repressed grief, Morano certainly pulled it out of the actors and added further intensity with her blurry focus and pore - revealing intimacy in almost every scene, throw in the ear - assault and too - serious actions of the characters and it stops being insightful and starts being a bit scary.

It's a short scene, only a couple of shots over a couple of minutes, and Bordwell uses it as an example of the simple virtuosity of Hong Kong filmmakers, how they are able, again and again, to make an exciting and fun sequence out of almost nothing, budget-wise, and specifically how Tsui's mastery of cutting and framing keeps the whole sequence as light and airy as it is inexpensive.

The first scene from Brave was previewed almost a year before the film's release, character art from Monsters University was unveiled, 2014's The Good Dinosaur and 2015's Inside Out were announced, and a retrospective panel was held with the talented pool of Pixar directors.

The movie gets off to a somewhat sluggish start, at a party scene that's overstuffed with arch dialogue and almost as many pop - culture allusions as a Seth MacFarlane show, but the underlying humanism in Baumbach's worldview ultimately wins out, and we actually come to care about this quippy group of chums and their endlessly referential, often very amusing conversations.

The Mission Impossible star nearly died, when he was out filming scenes for Mission Impossible 5 in the city, almost walking into the path of an upcoming red double decker bus.

A few scenes fleetingly mitigate the almost total dearth of laughs by injecting weird poignancy: a return visit to the stripper played by Heather Graham plays out an interesting idea about the passage of time since the first movie in 2009, and Melissa McCarthy livens up the picture in a couple of scenes as a pawn - shop proprietress with eyes for Alan, suggesting that maybe what the otherwise hopeless case needs is the love of a good woman.

Certainly there are things to love; Bilbo's character progression and his untimely addiction to one precious ring is welcome (although not nearly as prominent as it ought to be), the set design and telescopic vistas are almost as epic as ever, seeing the majesty of gold - diggin» dragon Smaug realized in impressive CG tantalizes the little boy in me (the one who listened to The Hobbit audiobook until it wore out), and one particularly fun scene involving dwarves in a barrel is a blatant film highlight; but other elements that ought to stand out fall flat on their face and never recover.

A scene at Lillian's engagement party where Annie and Helen (Rose Byrne), Annie's primary adversary for the title of Lillian's BFF, keep trying to one - up each other at giving sentimental toasts starts out as a platform to make fun of Annie for not being as graceful (making women cartoonishly klutzy and clueless is a typical rom - com tactic to endear them to men), but refreshingly goes another way, turning it into a back - and - forth that builds and builds until it becomes almost unbearable how embarrassing it is.

He tries to save himself and his bandmates from going to Hashima by arranging for a bribe, but that ploy backfires quickly in a heart - breaking early scene where Gang - ok realizes that almost everybody is trying to bribe their way out of trouble.

Part of what makes I Love You, Man interesting is that it's so almost a canned studio comedy (the obligatory gross - out gags, the cheesy orchestral cues) and yet manages to feel fresh and funny in almost every scene.

There is almost no crucial dialogue, and whole scenes — most notably one aboard an airplane threatened by a bomb — are played out against a subdued jumble of background noise.

This approach is so apparent in the final scene that seems almost ripped out of the film Extremely Loud and Incredibly Close.

While credit is due for the clarity of the battle scenes in and of themselves, Gods and Generals washes out as a stultifying tribute to the pathological meticulousness of (largely Southern) Civil War recreationists — glossing over the ideology and blood sacrifice in favour of a series of almost static tableaux.

A 2009 story in The Washington Post called «The Room» a «train wreck of almost incomprehensible proportions: Whole scenes are out of focus. . . .

In the interview, Pete talks about some of his favorite movies he recommends to friends, the evolution of the project over the years, how he got involved as a director, his vision behind the stark contrast between the beautiful, almost photo realistic backgrounds and the cartoony characters, a scene from the film that I felt was a homage to Jaws, the 1400 kid search for the main star of this film, how directing the voice actors for the English version of Miyazaki's Ponyo helped him in making this film, and find out who directs Peter Sohn when he performs in his own film.

Honestly there were a number of scenes in Inherent Vice where I thought, almost out loud actually, «Gee, couldn't he have snipped out a couple of minutes from these scenes?»

The educational improvement tactic of last resort almost always triggers protests — similar scenes have played out in Detroit, Chicago, and Philadelphia in recent years.

The scenes played out between the lovers were absolutely fresh and almost unnerving; when the alpha male personality comes out of Bennett Ryan as he orders Chloe around in the heat of passion, she replies with an angry growl of her own and tells him what he can do with himself in very explicit detail.

There's a scene in the game which sums almost everything wrong with the script which I want to briefly describe while keeping spoilers to a minimum: a character thought dead returns, and his startling reappearance is haphazardly swept under the rug with this ingenious explanation as to how he got out of the hairy situation: «They had me fucked, and then I got unfucked.»

That doesn't mean you need to opt - out of the convention scene of the hobby — there's almost certainly an event somewhere that is going to be the right size for you.

In their test scene, they could throw out over 75 % of triangles before hitting the geometry engine, resulting in an almost 20 % performance improvement.

What he finds is a scene that almost could have been taken right out of the Twilight Zone.

In Grand Canyon (2013), the almost washed - out greyness of the scene conjures the notion that this is an old family photograph rescued from a box in the attic.

MACUF - Museo de Arte Contemporáneo Gas Natural Fenosa, La Coruña Under the title «Almost Anything», the exhibition of the american artist Alex Katz at the Contemporary Art Museum Gas Natural Fenosa, MACUF, presents a selection of 22 paintings of landscapes, scenes and portraits, mostly of them large size, with the plain style of this author of flat compositions, silhouettes and «cutouts», as well as portraits on cut out wood he has been made since the sixties.