Sentences with phrase «scenes pictures like»

Follow me on Instagram to see sneak peek / behind - the - scenes pictures like this one.

Not exact matches

«They put him in the back in the scene between Adam and I and when the trailer first came out I got a little picture where he had kind of circled this blur in the back and he's like, «That's me!»»

These aren't necessarily new, but they offer such a high - quality picture, you almost feel like you want to (or can) step right into the screen and into a scene.

On a day where most market screens look like a crime scene, our Analytics heat maps paint a compelling picture.

A picture of Protestant leaders decorously gathered in 1946 to protest Harry Truman's naming of a U.S. representative to the Vatican is a scene from the days of hegemony that one would not like to see replicated today.

Paintings of bible scenes on church interiors functioned like a children's picture bible; they taught the scenes of biblical and church history.

It's like you can almost picture the scene from The Lion King where all this goes down.

Picture the scene: you're grocery shopping, trying to grab everything on your list, replying to a handful of texts and e-mails and chatting to your toddler and basically being a multitasking ninja, when out of the blue some unknown infraction has sent your child into a downward spiral that has resulted in said child flailing around like a maniac and attracting quite the crowd.

Enjoy several ways to get the perfect shots, including the ability to switch your phone between standard and vertical shooting and unlimited low angle shooting for pictures that let you experience a scene like never before.

At other times, the circle leads the child to look at another part of the actress» face or the scene around her, which is set up to look like a child's room, full of toys and colorful pictures.

Right before bed, try a relaxing imagery exercise: Picture any tranquil scene, like a day at the beach.

Picture what the scene looked like.

We had to shoot a flashback scene and I got dressed like I was living back in the 70's as you might have already seen in this Instagram picture.

Here are 5 reasons that we are actually twins separated at birth: Our initials are the same — TAS (I was born Taylor Anne Smith and she was born Taylor Alison Swift), we both are obsessed with cats and own 2, we both have blonde hair and cut it short IN THE SAME MONTH (UNPLANNED BUT AMAZING), we both play guitar (fun fact — I am holding a guitar in my senior pictures because I wanted to be like T. Swift), and we both love crime scene tv shows and Grey's Anatomy.

And yes, with its casual pace and guffaw - worthy little jokes, the picture does have an almost disturbing air of self - satisfaction — the cherry of which on top is a Tarantino cameo, that much like the scene itself, is completely superfluous.

The likes of Seth Rogen, Ari Graynor, Josh Hutcherson, Zac Efron, and Paul Scheer make up fellow members of The Room's crew, but they aren't given much to do besides recreate scenes from Wiseau's picture (to staggeringly accurate effect, it must be said) and react to the train wreck unfolding before them in real time.

Dominating every scene she is in, Rampling steals the picture with her precise, gestapo - like techniques and leering innuendos.

But these scenes, like the whole picture, are filmed with a certain inspiration.

There's a second big battle scene, late in the film, which allows Spielberg to display the chops he earned on pictures like Jaws and Jurassic Park.

Because the nerves have grown numb now, there are scenes of cruel torture in the picture — the kind that a troubled child would enact on his action figures after a few days of standard play: Dr. Strange at the mercy of glass needles, Nebula (Karen Gillan) bloodlessly segmented like a plasticine exhibit in a sadist's medical museum... The atrocity escalates because there's nothing at stake here.

Streep's early scenes play like a bit of warm - up for both the character and the star, the nasty shtick beginning to take hold in loud, scurrilous moments that build until we reach the big dinner scene, a sort of decrepit centerpiece for the whole picture during which Violet insults every damn person at the table and especially aims to tear each of her daughters apart.

Its baseball scenes almost tertiary to the friendship between a pitcher and his catcher (and the catcher and his hooker girlfriend), the picture feels a little like Of Mice and Men (complete with Steinbeck's low American primitivism) in the doomed relationship between a blue - collar man and his retarded friend.

Goodman known mostly for scene stealing bit parts in Oscar winning pictures like «Argo» or «The Artist» is the real star of the film.

DID N'T LIKE: Thorin's attitude, the rudeness of the dwarves when they first entered the house, Bilbo's leaving on his own (Gandalf didn't come back for him), Radagast the Brown (too goofy, I always pictured a more St. Francis - like character), the way the scene at the end - with Gandalf and the dwarves up in the trees, was totally ruined, and the loss of Bilbo's progression as a character (did he really kill several creatures all reLIKE: Thorin's attitude, the rudeness of the dwarves when they first entered the house, Bilbo's leaving on his own (Gandalf didn't come back for him), Radagast the Brown (too goofy, I always pictured a more St. Francis - like character), the way the scene at the end - with Gandalf and the dwarves up in the trees, was totally ruined, and the loss of Bilbo's progression as a character (did he really kill several creatures all relike character), the way the scene at the end - with Gandalf and the dwarves up in the trees, was totally ruined, and the loss of Bilbo's progression as a character (did he really kill several creatures all ready?

The film is so like Scott's Domino in its visual affectations and uniform incompetence that the two pictures could exchange scenes willy - nilly without losing a step.

What Fire Emblem Warriors lacks in story originality, it greatly makes up for it with superb artwork that makes characters from previous Fire Emblem games look exactly like we always pictured them and as for the cut - scenes, they're like miniature movies.

Indeed, in the latter picture, there are a number of scenes showing adults bickering and fighting like 6th graders whilst the pre-teens look on in disbelief, their mature eyes downcast and lathered in shame.

With Hitchcock flourishes like food fetish, hat play, and a scene at a carnival (to say nothing of the picture's brilliant central image of Mrs. Smith shaving Mr. Smith with a straight razor as an expression of spousal devotion (and an echo of scraped toast)-RRB-, Mr. and Mrs. Smith is serviceable and workmanlike, occasionally obviously the work of a genius.

The behind - the - scenes action of Living in Oblivion is no exception, and although we've seen many films just like it in recent years, such as Mistress and The Big Picture, Tom DiCillo's (Double Whammy, Box of Moon Light) creation distinguishes itself by being about a independent filmmaking, not greatly influenced by the dictation of a major studio or bigwig producer, but by conflicts within the filmmaker himself.

Directed like a heart attack and edited in such a way that most every scene ends with something breaking or someone running away, the picture is what baseball folks would call a «loud out» — a ball hit with pepper that peters out on the warning track; it doesn't even get an asterisk on the scorecard.

«It was intimidating, certainly, to be in these scenes with her and choking her and things like that — it was not how I pictured it going in my mind all these years,» said Roberts.

Their scenes together are great (like two old war pals chatting over a cup of coffee, or in this case, rum, about their many battle scars), and if Disney did decide to go ahead with a fifth installment, a buddy picture with these two would almost certainly be the way to go.

Here's what he got right: — in - your - face ads, heavy branding, the popularity of Coca - Cola — facial, voice and fingerprint scanning / recognition — Skype, FaceTime - like visual calls: Deckard talks to Rachael at a bar and can see her through a screen (Deckard then has to pay $ 1.25 for the call)-- the ability to zoom in, crop and instantly print images and pictures: A scene in which Deckard examines a photo and then asks for his home machine to «print me a hard copy» is fascinating.

Unlikely scenarios (including the central love story) are established just to be rebuked in matinee idol moments (and the scene in which Watson finally dumps cad Bill (Dominic West) is an inexplicable graft from Dying Young), and by the end of Mona Lisa Smile the only thing curious is how the picture manages to cast all men as either philandering jerks or ciphers with dicks, while all subplots (one of them concerning philandering Giselle) are summarily dropped just as they threaten to provide the piece with something like depth and humanity.

The result is a picture that's surprisingly restrained in regards to gratuitous cheesecake (shower scenes are more effective in men - behind - bars films, anyway) and which actually tries to address issues like prison violence, corrupt administrations, and a flawed legal system.

Costumes are all vibrant and rooted in charmingly tacky Americana like an 80s Jonathan Demme picture, while the action scenes take the idea of choreographing shootouts as dance sequences rather literally.

I like picturing a scene that occurs between movies of the Avengers trying to convince Cap to get a full - on mask and he's like, «No, I really like getting my cheekbone shattered every time we fight.»

McKay (Will Ferrell's most reliable partner, on pictures like Anchorman and Talladega Nights) and Apatow share an in - vogue style of partly improvised takes that makes many a scene jewels of uproarious, escalating comic brilliance.

With only a few scenes, Simmons and Hawke create a vivid, disturbing picture of how, like athleticism, masculinity is conditioned by ignoring natural aspects of human experience.

It's a tired, defeated picture, in which no one seems to love what they're doing, unless maybe it's a few of the character actors, like Farina and John Mahoney (as the dad), who have scenes they seem to relish.

There are many scenes like that one, as Weiner's 2013 campaign and potentially his marriage come apart at the seams when more information about the scandal is introduced to the public — including pictures of him fully nude and details of phone sex with a disillusioned (and, likely, attention - seeking) fan.

There are also a few new extras as well, like the «Worthy Adversaries» trivia game, where you complete lines from the movie while it's playing; a picture - in - picture video commentary with cast and crew interviews and behind - the - scenes footage; and a feature called «Mark It, Dude» that tracks all the profanities and Dude - isms that appear throughout the film.

There are a few stumbling scenes of remorse when characters fall but the disjointed picture never fully captures the enormity of their mission or what being in that area felt like.

Get Smart plays a great deal like the best parts of Farrelly Brothers comedies: largely free of their scatology, it finds its footing in strong characterizations and action scenes that work because the picture surprises by making you care.

And while Little Accidents is no great shakes formally — its sole visual flourish is Colangelo's penchant for shooting emotionally charged scenes from a distance, which is likely motivated by a desire to avoid histrionics — it does create a clear picture of a community in which even the relatively affluent, like Bill and Diane, are essentially just middle - class.

It provides a 2.20:1 transfer derived from restored 65 mm elements whose image looks vibrant and beautifully detailed throughout, regardless of whether it's racing footage or interiors, and the various European locations look like picture postcards, particularly the scenes of Monaco shown throughout the film's first racing sequences.

Some students might like to develop «realistic» pictures of actual objects or scenes by thinking carefully about which sections to apply colour to.

It's great if it can also truthfully represent the book, but it's always better to use a powerful cover that doesn't quite represent the book accurately, but doubles your sales, than it is to represent the book accurately (a mistake most authors make) with a shitty cover crammed full of exact details and pictures and scenes and meanings that you can explain and talk about for an hour but nobody else gets (or even likes).

I live in the scene and allow it to flow through me, and like hot water, I allow my consciousness to stream into the moment of the universe manifesting itself through me, and I try to paint a picture with the runic magic of words.

I had to learn (through the narrator) what the scene looked like, what the person looked like, what the other guy was thinking or feeling or hoping, or... well, you get the picture.