Sentences with phrase «scene after»

Bennett keeps asking Michael, the former love of his life, in scene after scene.

What may have been an engrossing series of novels is really reduced to scene after scene after scene of bad clichés, including making sure that the vampires from Ireland have red hair and freckles.

There are a few jump scares and a lot of crowd pleasing scenes of horror with one thing after another happening, building into awesome peaks of scary business scene after scene.

The pace never lets up as one hilarious scene after another go by in this thoroughly satisfying and hilarious adventure.

As you watch his transformation before your eyes, his subtle and restrained performance will floor you, scene after scene, year after year.

The picture becomes a frustrating, futile experience, with scene after scene of Smith running and computer geeks tracking him.

In scene after scene, the computer generated primates are perfectly crafted on the computer.

Unlike so many recent comic book based movies, Miller is able to string together scene after scene of action / racing / beating / shooting while still remembering to give us reason to care about his heroes, who are given precious little time to talk things over.

Scene after scene in this movie has the fascination of lives lived by those willing to break loose, to try something new.

No, Gigli doesn't have the slightest idea what it wants to be about, and it tries to cover up by showing scene after scene of poorly - written, overly memorized speeches.

In Righteous Kill, De Niro and Pacino are on the same team and in scene after scene.

I watched as Bond chased another villain through scene after scene.

Beatrix Kiddo, aka The Bride (Uma Thurman, «Kill Bill,» 2003 - 2004) When Tarantino finally came back to the scene after a six - year hiatus in 2003 with the first installment of his «Kill Bill» epic, expectations were hight.

Once the basic premise is introduced, the movie devolves into a series of one pointless scene after another where Calvin attempts to get the diamond and his cover is nearly blown.

What we said: «The Coens give us scene after scene of transcendent screen craft, whether it's Channing Tatum executing an era - perfect sailor - themed dance number in the apocryphal MGM - like musical, Swingin» Dinghy, Ehrenreich's Hobie Doyle practicing his lasso skills in the street, or Clooney intoning a floorboard - rattling speech for the climactic reel of Hail, Caesar!»

Instead of really delving into Bulger's character and showing his rise and fall, Black Mass features scene after scene of him doing crazy things without any real need to.

It goes through scene after scene of what he did, who he shot and what he stole.

In fact, «A Bigger Splash» is built on the layering of several characters and unspoken words in scene after scene.

Scene after scene in The Paperboy is peculiarly weightless, feeling neither narratively significant nor subjectively grounded, and the effect is so wearying that the sight of Efron receiving a golden shower from Kidman — allegedly for real, though the fetish crowd won't find it graphic enough — is more defibrillator than highlight.

Taylor Sheridan, an actor making his screenwriting debut, lets the film down in scene after scene.

Brad Furman, who previously directed Cranston in the colorful Matthew McConaughey sleeper «The Lincoln Lawyer,» does a great job of ratcheting up the tension as scene after scene notes the terrifying consequences if Mazur's deception is exposed.

Scene after scene, in tight closeup on Jennifer Lawrence's face, we peer into her eyeballs as if we were ophthalmologists.

Watching scene after scene almost left me breathless several times, and Hans Zimmer's score is a plus to the intrigue of this story.

She gives a great performance and steals one scene after another.

They have comic potential, but it's wasted here in scene after scene.

With [Paul's] beautiful movie, the scene after he recovers from his first illness and he comes in and asks her to marry him, it's both perverted and sublimely romantic.

She and Dornan still display little in the way of chemistry, and considering this is a movie filled with scene after scene of the twosome snuggling up to one another, acting naughty in elevators or boldly pronouncing loud exclamations of undying love this is a major problem.

You see ingloriously bad scene after ingloriously bad scene and eventually begin to wonder whether people really stood there with boom mics and tattered scripts in hand, day in and day out for months, as these crimes were being committed.

«Scene after scene, we see the Raineys show generosity to all those around them.

The fun of «Take Me» is watching these two actors go toe - to - toe in scene after scene.

In «Dark Shadows, «scene after scene find Depp, Michelle Pfeiffer, Eva Green, Helena Bonham Carter and Chloe Grace Moretz all dressed up and ready to play, only to be left high and dry by the material.

Director Curtis Radclyffe has ample time to expand upon this story, but he and writer Romla Walker instead opt to give us scene after scene of the group roaming the hospital and Nick saying something insulting.

Murray's the talker, stealing scene after scene in the process.

Scene after scene features Kar - wai's masterful blend of lyrical and visual.

The almost complete absence of a narrative allows the film to simply indulge in scene after scene of chaotic activity.

It's harder for children to separate what they see on screen and what they're feeling at the time, which makes scene after scene of characters turning to dust a pretty intense experience.

This, all talk and barely any suspense, drama has scene after scene of action star Neeson talking sternly and forcefully to members of the FBI as smoke suffices for atmosphere in the 70's time - frame.

In one scene after the war ends, there are carpet baggers giving speeches to freed slaves while carrying bags made out of carpet while Belle and her brother look on in horror.

The gruesome and the goofy mix it up in scene after scene, but Lester's grand plan of using farce for political commentary is sabotaged by his uncharacteristically clumsy handling of it all.

But a pivotal scene after dinner where Arkin's daughter pleads with him to lay off Falk and his suspicions, and embrace the soon - to - be father in - law is the impetus to allow Arkin the «room» to bite off the taller tales and the willingness to extend the olive branch to Falk under the most ridiculous circumstances.

I for one was amazed at how the director seemed to steal scene after scene from other movies and simply reshoot them for this movie.

Scene after scene are wonderful to behold (this is especially true in 3 - D).

Scene after scene of this will eventually get under the audience's skin and they'll welcome the eventual end after its 145 minute run time.

This first feature film from director and co-writer Jeremy Garelick has an interesting premise... a much better premise than HITCH... and benefits from an on screen connection between Hart and Josh Gad, despite scene after scene taking the cheap laugh rather than the smart one.

Scene after scene is suspended in exquisite tension, by turns romantic and murderous — and, in one notable instance, both.

But here again, credit must be shared by director Fincher, who imbues scene after bickering scene with the kind of headlong momentum one associates with action thrillers.

In that regard, it stands as one of the director's finest accomplishments, and as the picture that returned him to the scene after a long hiatus, it transformed him from an under - the - radar talent to one of the sharpest filmmakers working today.

Williams does deliver on energy, but he has never really possessed a true talent for broadly physical comedy, and as scene after scene roll by, you'll probably find it impossible not to scratch your head and wonder why the man that can ad - lib classic comedic moments on stage and on late night talk shows can't seem to inject even one laugh in nearly two hours of pure comedy that he has worked on for weeks.

Consequently, I found myself growing restless from boredom, as scene after scene took place, and only casting changes and some dialogue have changed.

Even stranger, this conceit limits Fassbender's agency, even as he features in scene after scene.