Sentences with phrase «together scene by scene»

Rami Malek takes on the role of «Buster», a character of many dimensions, whose life we try to piece together scene by scene like an intricate...

Not exact matches

By partnering with Alibaba's cloud computing arm, HTC said that the two companies will work together to improve the behind - the - scenes data center infrastructure required to deliver virtual reality content to consumers.

By exploring the early Rock scene in Memphis, the home of the Church of God in Christ, one can see how people like Elvis Presley and Jerry Lee Lewis brought those cultural forms together.

Filmed over two years, Michelin Stars — Tales From The Kitchen, gives us a behind the scenes look at the lives and stresses of starred chefs with a tale woven together by food critics and diners.

Fully satisfied by the town's low - key vibe combined with its fun and interesting food scene and nightlife, we agreed that any future Southern California get - togethers would have to include a trip to Temecula Valley.

What more could Jurgen Klopp and his players ask for to fire them up than scenes like this, as gathered together by Liverpool fan blog Empire of the Kop...

This can take many hours of painstaking work (by John mostly), before we're even ready to put them together to form the scene and make a first test cut.

Inspired by that viral video, The Scene brought together seven dads of different races and their -LSB-...]

Wendy Flynn, One Tough Mother Runner [«The Hobby That Changed My Life»] Wendy Bradford, Mama One to Three [«Less Whine and More Wine»] Hallie Lord, Moxie Wife [«The Gift of Imperfection»] Leslie Marinelli, The Bearded Iris [«I Suddenly Have a Mom Mullet»] Michelle Lehnardt, Scenes from the Wild [«Big Kids Need Tucking In, Too»] Nina Badzin, NinaBadzin.com [«Shine and Let Others Shine»] Debbie Koenig, Words to Eat By [«We're All Just Faking It»] Rachel Balducci, Testosterhome [«Words You Shouldn't Be Scared Of»] Kimberley Clayton Blaine, TheGoToMom.TV [«Moms, Don't Be Camera Shy»] Kristen Levithan, Motherese [«It's Not Always All On Me»] Amber Strocel, Strocel.com [«Know What You Need»] Stacie Billis, One Hungry Mama [«I'm Not Above Asking for Help»] Kathryn Whitaker, Team Whitaker [«Learn to Love the Unplanned»] Jill Herzig, Editor - in - Chief of Redbook [«Sometimes It's Best to Do Nothing»] Alicia Ybarbo, producer at NBC's TODAY [«The Secret To «Me» Time»] Dana Points, Editor - in - Chief of Parents [«The Dishes Can Wait»] Rachel Hollis, My Chic Life [«Permission To Be Awesome»] Erin, Home with the Boys [«Our Kids Are Capable»] Rachel Turiel, 6512 and Growing [«The Romance of Gratitude»] Shawn Ledington Fink, Awesomely Awake [«Being Together is Enough»] Danielle Smith, Extraordinary Mommy [«It's Okay to Drop Some Balls»] Ronnie Tyler, Black and Married with Kids [«It's Hard to Forgive Yourself»] Christine Koh, Boston Mamas [«Done is Better Than Perfect»] Ilana Wiles, Mommy Shorts [«Sleep When Baby Sleeps?

Subsequently, by virtue of defining that an adult and infant are unable to safely sleep on the same surface together, such as what occurs during bedsharing, even when all known adverse bedsharing risk factors are absent and safe bedsharing practices involving breastfeeding mothers are followed, an infant that dies while sharing a sleeping surface with his / her mother is labeled a SUID, and not SIDS.26 In this way the infant death statistics increasingly supplement the idea that bedsharing is inherently and always hazardous and lend credence, artificially, to the belief that under no circumstance can a mother, breastfeeding or not, safely care for, or protect her infant if asleep together in a bed.27 The legitimacy of such a sweeping inference is highly problematic, we argue, in light of the fact that when careful and complete examination of death scenes, the results revealed that 99 % of bedsharing deaths could be explained by the presence of at least one and usually multiple independent risk factors for SIDS such as maternal smoking, prone infant sleep, use of alcohol and / or drugs by the bedsharing adults.28 Moreover, this new ideology is especially troubling because it leads to condemnations of bedsharing parents that border on charges of being neglectful and / or abusive.

And they have not been satisfied by the governor's slow yet steady move to the left since the 2014 election, including his recent forging of a peace deal among the Senate Democrats — which seemed to come together pretty darn quickly once Nixon arrived on the scene — saying it's too little, too late.

Ivanovskiy recalls the scene: «Usually the chief designers came together for such efforts as a forthcoming launch, and by that time it had become a tradition for them to come to the launchpad.

Together with Christian Theobalt, leader of the research group «Graphics, Vision & Video» at the Max Planck Institute for Informatics, they could solve another problem: with their method, they can display people in full even if they had been partly obscured by other characters in a movie scene.

Though her natural magnetism has been considerably diminished of late by her star - power posturing, Blanchett, like Crowe, is a skilled old pro, and their initial scenes together — Crowe's piss - taking peasant smugly enjoying his lordly masquerade, Blanchett's lady growlingly forced to kowtow to him as husband and master — throw off a few familiar but pleasurable sparks.

Sin - Dee and Alexandra's last, quiet scene together, in a laundromat not far from the same Donut Time franchise where they began their action - packed Christmas Eve, succeeds at once as a new kind of female buddy comedy and as a rueful reflection on the meaning of coming home — by whatever definition you choose to understand that word — for the holidays.

Populated with totally naturalistic performances, and a stunningly observed relationship between mother and son (their scenes together are phenomenal), Bad Hair works by keeping its focus on the small details of everyday life and its rhythms.

Together Rick and Holly go to explore a potential rip in the time - space continuum, which just happens to be inside a funhouse ride manned by redneck scam artist Will (Danny McBride, keeping up his yearlong streak of scene - stealing sidekick roles).

For four years, he and Cosby in their scenes together comprised one of the funniest comedy double acts seen on television, his innocent yet conniving Griffin Vesey making the perfect foil to Cosby's ill - tempered curmudgeon Hilton Lucas; another highlight of his portrayal (and a clever «in» joke referring back to his work in Cool Runnings) were Griffin's occasional attempts to impress women by passing himself off as a West Indian, affecting a Jamaican accent.

Before long, we're watching a flashback where Angela and her brother are giggling as they spy on their two daddies making out in bed, followed by a scene with the two kids sitting up, facing each other, in bed together.

By the time the movie gets to the final climax, basically where every last character is suddenly together in a big obviously - in - a-warehouse-set with an impending action scene pitting them all against each other, I had completely lost interest in the story.

When you have enough information gathered by investigating crime scenes and chatting to witnesses, Pikachu will let you know when it's time to start putting things together so you can figure out what's going on.

The acting is topnotch, particularly by Martin and Bejo in their scenes together, suggesting an unspoken bond deeper than either would care to admit, and them with Sweet.

Not a movie so much as extended takes edited together (by no less than 3 credited editors) of improvised scenes from previous characters in another Judd Apatow movie.

Bookended by war scenes that dramatize the fine line between civilized society and the brutality of war, it all comes together... bringing more power and poignancy to the two best scenes: as previously mentioned, Letts and Lerman go mano y mano in arguing the brilliance of Bertrand Russell, and their word battle highlights the age - old idealist vs. real world struggles; a mother - son scene towards the end is as heart - breaking as any we're likely to see on screen this year.

Not only does the photo offer another idea of the sort of team - ups audiences will experience when the sequel arrives in theaters — Downey, Cumberbatch and Wong are obviously in costume, likely having shot or preparing to shoot a scene together — it further lays to rest early rumors that Cumberbatch would be represented on - set by a body double, with the actor dubbing in his lines at a later date.

The first reel of the film is taken up by a big wedding scene, bringing together two token gay characters who hated each other throughout the series and are now inexplicably exchanging vows before the holy vessel of Liza Minnelli — who also performs at the party with a hideous cover of «All the Single Ladies».

These are pieces that might fit together in a smarter, stronger movie, but director Ken Scott (reteaming with Vaughn after the dreary «Delivery Man») seems to mold the characters scene by scene rather than making them believable and consistent over the course of the story.

This flick is basically six or seven really long scenes (that somehow add up to two and a half hours) marked by chapters that don't fit together very well at all.

Even Holden and Newman, whose many confrontations tax both patience and credulity, manage one good scene together: the Architect agonizingly tells the Builder of the death of a building official, the first person hurt by the fire.

A five - minute featurette called «Greetings From Bull Mountain» is the standard five - minute B - roll / soft - sell interview errata that features a few additional male buttock shots; «King of the Mountain» is a two - minute music video that splices action sequences from the film together with bloopers and sets it to music (something resurrected in feature - length form by this year's ESPN's X-movie); and nine chapter - encoded deleted scenes (blissfully sans commentary and running between fifteen seconds and a minute, each) are essentially long «comedy» shticks that prove for as bad as Out Cold was, it could have been even worse.

It's hard to even call it a film, as it consists mainly (90 %) of scenes lifted from the first two Boogeyman pictures, strung together as the psychic experiences of narrator Annie (Kelly Galindo) in sessions overseen by shrink Dr. Love (Omar Kaczmarczyk).

This film's highlights include scenes featuring Hobbs and Deckard (Jason Statham), the villain from the last film, who are forced to work together by the elusive Mr. Nobody (Kurt Russell).

In reflecting on Anderson's body of work, with all of the memorable scenes in his films — dazzling multi-character, multi-location sequences tied together by music, or stunning two - person face - offs (the staring contest between Philip Seymour Hoffman and Joaquin Phoenix in The Master comes to mind)-- his romantic scenes inhabit some kind of sweet spot, tender as a bruise on an apple.

High - concept in the basest definition of the term, the film would fall apart with a sigh if it weren't held together, however tenuously, by jump - cuts, zooms, slo - mo — the whole kitchen sink of obfuscating choices courtesy an artist trying way too hard to be au courant by imitating a style of film that hasn't been fresh since around the time that Tarantino hit the scene.

When the women band together to form a vocal orchestra to raise their spirits, it doesn't play so much as a moment of uplift and defiance (as with a similar scene when his soldiers whistle their support for Alec Guinness in Bridge on the River Kwai, or even when Cool Hand Luke is sung to by his peers) as it does a moment and an action that feel preordained and unsurprising.

However, it lacks a really driving plot; each scene plays out beautifully by itself, but the scenes don't really band together to build or climb or generate suspense.

Moderated by president / editor - in - chief Debra Birnbaum, Fan Favorites brings together stars from TV's hottest shows for a lively discussion filled with behind - the - scenes scoop.

Carried over from the 2002 DVD release is commentary by director Robert Altman and producer David Foster (recorded separately but edited together for good effect) and a 10 - minute promotional behind - the - scenes documentary from 1971.

The movie has been slapped together by director Todd Phillips, who careens from scene to scene without it occurring to him that humor benefits from characterization, context and continuity.

On a scene - by - scene basis, it's terrific stuff, but it doesn't quite come together as a whole.

In yet another early scene Kate and Alejandro (Del Toro's role) are on a plane together; he gets shocked out of his sleep, presumably by a nightmare.

A scene in which Freeman is directed to grab Page's breasts is made safe by him rubbing his hands together to ensure his co-worker isn't startled by any undesirable coldness.

It opens with Michael Fassbender and Penelope Cruz in bed together after what is supposed to be a marathon lovemaking session, but director Ridley Scott films the first part of this scene so that they are totally covered by white sheets, as if they were mummies.

Considering the backdrop of Brooklyn's music scene (music for the film was written by former Rilo Kiley frontwoman Jenny Lewis and Johnathan Rice, who are known together as the duo Jenny and Johnny) we can expect to hear Hathaway sing again, as she did in her Oscar - winning turn in 2012's «Les Misérables» — and considering that she «faces the reality of her life,» we can probably expect that self - expression through music reunites her with her estranged family and enables her to move past her arrested development.

Instead, most of these glorified side missions are tied together by storybook cut - scenes that have clever moments, but are largely expository rambling with very little pop, substance, or character interaction.

The film crawls along, held together by political scenes we do not care about and history - butchering moments.

The duo shine in scenes together but they are forever interrupted by groups of people looking at monitors dishing out expositional dialogue.

The story follows Kimberly and Dell, a couple played by Emmy Rossum and Justin Long, through a series of scenes in their life together, shifting in time and relationship status.

The scene when Oscar meets and glues together China Girl's broken legs (a reference to his inability to heal a wheelchair - bound girl at one of his shows, played by the actress who voices this animated counterpart) is one of the best in the film, precisely because it is one of few where Raimi takes his time to let a scene unfold naturally, rather than try to outdo what came before both visually and energetically.

Together they wander into scenes that play, charmingly if weirdly, like grungy moments from a Sam Peckinpah Western, complete with savage hillbilly raptors, chatty campfire boasts (some voiced by the tangy Sam Elliott as a ranching T. Rex) and herds of cattle.