Sentences with phrase «powerful scenes between»

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.

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.

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.

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.

There's a powerful scene between him and Reid's character that will steal your breath away.

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.