Not exact matches
I went to an
scene - y NYC modern art show where I was completely an imposter, and yet somehow, these pants made me
felt like I
belonged.
I truly can not think of a movie that I've seen that was so blatantly torn to shreds in post-production in the editing room, to a point where it
feels like no single
scene belongs in the same movie as any other one, and that no one working on the film even realized they were working on the same one as all of these other people involved.
It's only when you realize that this build up doesn't really go anywhere that it begins to become uninteresting, until it finally gets down to the climax, when everything falls completely apart with a laughably executed revelation
scene that
feels like it
belongs more in a comedy than in a serious thriller.
Mostly, the performances I love
felt like they
belonged exactly where they were and engendered equal
feelings of surprise and inevitability in me: Of course Hugh Grant would prove the perfect
scene partner for Meryl Streep in Florence Foster Jenkins, and how could nobody have thought of it sooner?
Laura Linney is the only actor who
feels like she doesn't
belong, stuck in a thankless role as Sully's wife Lorraine, whose few
scenes with Hanks over the phone lack the emotional oomph that was intended.
Bates lights up her
scenes, feisty yet down - to - earth, and has one emotional crescendo that
feels like it
belongs in another movie.
It was the desire to see what happened to Arno that kept me wanting to move the narrative forward, though Games TM are quite right in pointing out that it can often
feel like a sequence of
scenes that don't
belong together.
You dropped out of the Studio School
scene, and you didn't
feel like you
belonged to the Color Field
scene or with the African - American painters working that way.