Sentences with phrase «until film forms»

For example, when a normal tire travels over water at a high speed, pressure builds until a film forms to lubricate the interface; this is called hydroplaning, and results in a complete loss of frictional control.

Bring to a scald (not a boil - just heat until film forms on the top of the liquid)

Stir vigorously until film forms on bottom of pan and dough is no longer sticky, 1 to 2 minutes longer.

Not exact matches

Cook, stirring constantly, until mixture pulls away from sides and a film forms on bottom of pan, about 3 minutes.

Continue stirring over the heat until a thin film forms on the bottom of the pan; remove pan from heat and let rest for about 5 minutes, to cool the dough a bit.

Continue to cook, stirring vigorously, until a dry film forms on bottom and sides of pan and dough is no longer sticky, about 2 minutes longer.

Sprinkle spice mixture evenly over meat and knead with your hands, rotating bowl, until spice mixture is evenly distributed and a light film has formed on the side of the bowl, about 1 minute.

Transfer to oven and bake without disturbing beans (you want a film to form on the surface) until tender, 15 — 25 minutes.

Mix ground pork, scallions, garlic, soy sauce, salt, wine, sugar, oil, ginger, and pepper with chopsticks in a medium bowl, stirring in one direction until it all comes together and a light film forms on the sides of bowl, about 20 seconds.

Let the soap sit until a film starts to form over the top and the soap begins to thicken, remove any skin that may have formed then stir in the glitter.

Apply directly to your face until a thin film forms on the surface of your skin.

Director David Yates clearly has his sights set on franchise country again — since rounding off the POTTER cinematic saga he ruffled the BBC's feathers by putting a new Doctor Who film in development, with TARZAN perhaps forming another opening gambit until that can be finalized.

Liv Tyler is in top form (nobody cries quite like her), and I only just realised that she's managed to avoid horror films throughout her career until now.

No, the explanation for Adaline Bowman's (Blake Lively) unchanging physical form is purely scientific — it's just that the science behind the phenomenon won't be discovered until 2035, according to the omniscient narrator who walks viewers through her unique condition in the film's opening scenes.

According to the three historians on the DVD's excellent commentary track, the film did enjoy strong box office returns and was anything but a creative failure, but Castile is symbolic of the epic productions studios couldn't indulge in as often, until TV forced a return to bug budget epics during the fifties, in the form of pseudo-moral Biblical sagas in CinemaScope and stereophonic sound.

The gloom doesn't begin to lift until Harry and company abandon faith in their elders and institutions and re-create a young magicians» insurgency that Harry's father helped form the last time Voldemort loomed; from that moment on, director David Yates slowly and subtly restores warmth to the film's palette, to the point where the images mimic the hard luminescence that distinguished The Prisoner of Azkaban and The Goblet of Fire.

The film focuses on their relationship, with her seeing him as a sort of uncle and him interested in a bit more than that, until he figures out she and his young apprentice have formed an attraction for each other.

The film spins its wheels in standard action - movie form until it reaches an end that feels, in retrospect, entirely unlike the one the story, with its early anger, was surely heading toward.

Ebert has been one of the loudest voices in film criticism, even after his fight with cancer literally took his voice, until amazing technology was able to bring it back in some form.

Claudel's storytelling accumulates information on a strictly need - to - know basis, forming a structural house of cards in which each plot point fragilely supports the next — until, in the film's very last reel, the intricate system of withheld knowledge can no longer sustain itself, and the protagonist's staggering truth emerges.

A small but perfectly formed exhibition exploring the fascinating life of the celebrated film star, fashion icon and humanitarian (until 18 October).

Form is suggested by broad areas of color, sometimes applied with a heavy impasto or gauzy indistinctness, and scrubbed onto the canvas until it resembles a film of floating light.

Despite the efforts of the above pioneers, along with those of inter-war artists Marcel Jean (1900 - 93), Joan Miro (1893 - 1983) and Andre Breton (1896 - 1966)- see their respective works Spectre of the Gardenia (1936, plaster head, painted cloth, zippers, film strip, Museum of Modern Art NYC); Object (1936, stuffed parrot, silk stocking remnant, cork ball, engraved map, Museum of Modern Art NYC); and Poem - Object (1941, Museum of Modern Art NYC)- junk art did not coalesce into a movement until the 1950s, when artists like Robert Rauschenberg (1925 - 2008) started to promote his «combines» (a combined form of painting and sculpture), such as Bed (1955, MoMA, New York) and First Landing Jump (1961, combine painting, cloth, metal, leather, electric fixture, cable, oil paint, board, Museum of Modern Art NYC).

Until the installation of his 1973 solid - light film, Line Describing a Cone in Chrissie Iles's Whitney exhibition Into The Light in 2001, Anthony McCall remained one of those artists whose work circulated almost entirely in the form of two or three very well - known documentary photographs: his art was immediately recognizable, canonical even, but rarely experienced firsthand.