There's
a powerful scene between him and Reid's character that will steal your breath away.
The highlight of the movie is
a powerful scene between the two actors, that will resonate with anyone who ever looked for parental advice and approval.
One
powerful scene between the two is onboard a plane when Erik blames the death of friends on Charles for abandoning everyone in their time of need.
He is energetic and fun as you would expect from the role, but shows a lot of emotional depth during several
powerful scenes between Lumpy and Ramsey.
Let's not forget either, that Nolan North (Drake) will be paired with Troy Baker (Drake's brother), combining two of the industry's most talented voice actors side - by - side in the same game, which will definitely lead to
some powerful scenes between the two.
Not exact matches
Sadly, in this process, Moldova has been caught
between the interests of two much more
powerful players on the international
scene.
The acting duet
between Hayek and Lithgow in these
scenes is incredibly
powerful.
Still, the film never quite nails down an overall tone, building to two
powerful scenes closing out the second act and warming up the third: one
between Gerry and his ex-wife (Robin Weigert, looking nothing like «Deadwood's» Calamity Jane) heartbreaking and tense, the other at a sparsely attended horse track with Gerry and Curtis seemingly all but solidifying their own sad fates.
From these subtle yet
powerful opening
scenes (it's the poor and the disenfranchised who fight for the wealthy and
powerful), The Manchurian Candidate explores a multitude of political «issues» to a lesser or greater extent: the ill that is committed under the guise of defending a nation; the behind - the -
scenes machinations of any country's political process; the unpalatable relationship
between entertainment, money and politics, and most specifically, the enormous influence big business has on politics and politicians.
It is one of the many
powerful scenes that uses the space in
between dialogue to have the power.
From the nail - biting tavern
scene in which Kruger tries to mediate a tense showdown
between the Nazis and the Basterds to the unforgettable climax in which Laurent's own version of happily ever after is revealed (the movie begins with «Once upon a time...»), the female characters are unquestionably necessary,
powerful, and unforgettable.
Interspersed
between powerful dramatic
scenes are critical declarations of the film's acting and pedigree.
Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching,
powerful documentary about the pleasures and perils associated with the «chemsex»
scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics
between female best friends, starring Elisabeth Moss.
There is a fiery
scene between Keener (Being John Malkovich, Capote) and her daughter (played by Imogen Poots) that allows Keener to return to the type of
powerful performance I have missed from her recently.
Entertaining a rich conversation with the history of literature, the history of the world (Europe
between WWI and WWII) with its assorted canon of bigotry, persecution and class divide (providing some of the film's most
powerful scenes), architecture, fine arts and good acting (the cast is a joy to behold), Anderson has crafted a finely tuned masterpiece.
Societal issues are often perceived through the prism of the fraught relationships
between men and women, culminating in a
powerful scene of romantic mismatch / longing in a van driven through the night.
From
scenes filled with raging fires to quieter, more dramatic moments
between the men and their families, the story is made even more
powerful and immersive in Dolby Vision ™ and Dolby Atmos ®.
Luhrmann... confirmed he'd found his man: «In casting Tom one had to find an actor who could credibly be (as Fitzgerald describes him) «one of the most
powerful ends that ever played football at New Haven,» had five - star acting chops and in the big dramatic showdown
scenes between Gatsby and Tom, hold the screen against Leonardo DiCaprio, in the appropriate age group.
The
scenes between Christine and her father might not be as emotionally
powerful as the ones with her mother, but they still spark emotion and feel very true to life.
The
scenes between Garrett Hedlund and Jason Mitchell are especially
powerful.
In
scenes alive with emotional truth, River, Cross My Heart weighs the effect of Clara's absence on the people she has left behind: her parents, Alice and Willie Bynum, torn
between the old world of their rural North Carolina home and the new world of the city, to which they have moved in search of a better life for themselves and their children; the friends and relatives of the Bynum family in the Georgetown neighborhood they now call home; and, most especially, Clara's sister, twelve - year - old Johnnie Mae, who must come to terms with the
powerful and confused emotions sparked by her sister's death as she struggles to decide and discover the kind of woman she will become.
Gabriel has now become the
powerful vampire Dracula, declared war upon the Brotherhood and so the
scene is set for a cataclysmic showdown
between father and son.
These
powerful creatures in whimsical
scenes are a metaphor for the human experience, demonstrating the balance
between having fun and giving life purpose.