Sentences with phrase «scene after scene»

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

There isn't much to recommend here other than in seeing all of the missed opportunities fall flat in scene after scene.

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

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

Rather than focusing on his great military accomplishments and failures, we get scene after scene of him bedding various men.

She really carries the film scene after scene and the last 15 minutes is an absolute blast to watch as her character finally goes over the deep end.

The camera lovingly films the action, as we get over-the-top violence scene after scene.

Worse, the character is so poorly written that he comes across as flat - out dumb in scene after scene (such as searching for a hidden camera in his silverware drawer).

What this means for Steven Soderbergh as a director is that he had the rare opportunity to literally have a warrior to star in a film with scene after scene of hardcore hand to hand combat with little to no reliance on technology.

The script's playful tone remains intact throughout — including a hilarious scene between Smith and Santoro's pit bull bodyguard (Gerald McRaney) about the latter's disgust for the younger generation — but it never quite clicks the same way, bogged down by scene after scene of exposition that's all setup for the big payoff; a rather predictable a-ha moment that is telegraphed not only by the film's title, but during Nicky's first teaching moment with Jess.

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

What begins as a robbery gone wrong thriller, quickly turns into scene after scene of plot reformation.

«Emotional detachment is valued above all else in the Jedi Order,» Pop Culture Detective points out, showing scene after scene in which Jedis push the suppression of feelings as the way to be stable and successful, while fear of loss / love / pain / anger are the paths that lead directly to the Dark Side.

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.

Jack Huston kicked off 2016 as one of the better parts of the fairly terrible Pride and Prejudice and Zombies, stealing scene after scene from ostensible male lead Sam Riley.

As though to desensitize the audience for events to come, Kubrick delivers scene after scene of the drill sergeant, superbly played by former Marine drill instructor Lee Ermey.

Former SNL cast members pop up in scene after scene playing former classmates of the Ellis sisters, only to endure unfunny set - ups and lame situations.

She didn't write it — Katie Dippold («The Heat») did — but scene after scene seems tailored to what Schumer can do best.

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.

Scene after scene between Anakin and Padmé fails, and every now and again Lucas gives us a random shot of the latter crying, possibly in the hopes that we get the point.

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.

The film's off - and - on social advocacy becomes abruptly dominant in the final act, as Taylor offers scene after scene depicting the terror of human trafficking, and a film that had previously been impossible to take seriously suddenly starts taking itself very seriously indeed.

Scene after scene ends with Merrick silently placing another piece on the model of St. Philip's as he struggles to realize spiritual being.

Not needing to rely on visual fireworks (unlike Washington's other recent director Tony Scott), Demme produces scene after scene that are well - paced, well - lit and well - acted.

At least, they could have filmed this in somewhere better to view, instead of such a drap scene after scene.

Scene after scene starts off stale and isn't rescued by riffing.

Scene after scene exists only to deliver facts for later: Carter's family background; the location of Leah's spare housekey; the presence of a mildly nosy neighbor and a clumsily introduced pet cat.

That's why we endure scene after scene of Bettany obsessing over pigeon skeletons and poring over science notebooks, ignoring his surviving children and wife, getting doused with cure - all water treatments and deteriorating so much his hand shakes involuntarily — Bettany deserves his moment, darn it!

Looking back on the original Harry Potter and the Sorcerer's Stone (2001), a lush, lavishly produced introduction to Potter's world and the wondrous delights of the magic castle of Hogwarts, we can see that Steve Kloves» script condenses scene after scene to essentials (of character revelation as well as plot necessities) and director Chris Columbus» admirable desire to put the novel onscreen in all its detail ends up favoring events over people.

Scene after scene adds more color to an already exquisite canvas and I just couldn't believe the performances achieved by the young actors.

We did five months of pre-production, and 90 % of that was spent in the art department, designing scene after scene, shot after shot.

Bana plays scene after scene looking as if he's holding something in — literally — and Connelly spends the last 60 minutes saying very little and looking concerned.

Sadly, the only fireworks the producers of this film think we really want to see are the non-stop displays of gunshots, mayhem, and explosions that are liberally explored in all their destructive glory in scene after scene right up until the very end.

Scene after scene demonstrating how awful he is (how about that post-coital bedroom scene, acted so well by McDonald) play out with little to no relevance to the ongoing narrative and aren't done in any particularly nuanced way as to help form more than a one dimensional perception of this character.

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.

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.

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.

As scene after scene slips through the cracks of believability, one begins to pay more attention to the titles than to the action occurring behind them.

Directed by Mike Figgis with a keen eye for revealing visual details and a brilliant ear for musical underpinnings that enrich scene after scene.

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

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.

The film scene after scene becomes this wash of poorly written dialogue and over-the-top acting that completely justifies my initial question: is this worse than Wild Wild West?

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.

Rapid fire scene after scene of wacky hijinks with very little pause for breath.

I'll give director Steve McQueen the benefit of the doubt when he says he simply had to include scene after scene of Chiwetel Ejiofor being beaten, whipped, flayed, you name it (not to mention Lupita Nyong» o being beaten, whipped, flayed, etc) becausethat's what really happened.

There's nothing «epic» about it, just scene after scene of extreme anti-humor, as they copy one of the last few years» summer blockbusters, make some retarded twist to the concept, and suck the last shred of dignity out of filmmaking.

In her previous drama, «We Need to Talk About Kevin,» metaphoric and literal blood splashed across scene after scene, from the smashed - tomato bacchanal of the prologue to the wounds inflicted by a scarily disaffected teenager in later scenes.