Sentences with phrase «what little dialogue»

What little dialogue there is comes through «random encounters» on the world map meant to push the story along and from the Caravan's hometown's occupants.

There were no standout characters however and what little dialogue was exchanged seemed almost strained as they felt a need to explain a reason we're attacking a particular target other than to save the world.

There were no standout characters however and what little dialogue was exchanged seemed almost strained as they felt a need to explain a reason we're attacking a particular target other than to save the world.

Most of that knowledge comes from the actors, who imbue what little dialogue they're given with wisdom and show us the rest in the quiet moments.

(What little dialogue there is stems from Finding Dory proper.)

What little dialogue there is tends not to be very helpful, consisting either of a series of red herrings or irrelevancies — though deciding which of these applies is quite a challenge.

She serves no function, and what little dialogue she gets is like what Tanya Roberts used to have on «Charlie's Angels.»

It doesn't help that what little dialogue main character Big Boss (or rather, «Big Boss») utters is read by new voice actor Kiefer Sutherland with all the enthusiasm of a man doing a decade's worth of income taxes in a single afternoon.

Not exact matches

As you hover over each listed app, you'll see two little icons pop up: a pencil and an X. Click the pencil, and it will show you a dialogue indicating what permissions you've given the app.

But when we are having a dialogue about this stuff, tell me how can I get my point of view across, like, I believe that being gay is a choice, and then use what many, many others use to defend their so - called choice, little girls.

But there is little doubt that we are witnessing the emergence into wider dialogue of what will prove to be an increasingly important theological and ecclesiastical tradition.

In regard to the comment about how Herd Evans provides little guidance in this critique, I would encourage readers not to seek step - by - step guidelines for what to do next but to exegete the situation on their own by engaging the tension through ongoing dialogue with millennials (or anyone who has become jaded with church).

But there has been little public dialogue about how and whether those proposals respond to what some describe as a political crime wave stemming from the outsized role of money in state politics.

We like just having this little kinda dialogue back and forth and «ooh, someone responds over here, let's see what they said» and we kinda see if we can interject it into the conversation.

Everyone on the moon is literally gay, the dialogue is so poorly written I cringed through half of it, the enemies seem much less imaginative than Borderlands 2's, and there are a tremendous amount of bugs and glitches that take away what little enjoyment that I had from playing this game.

Kubrick's sci - fi experiment intended to present its story almost purely with visual imagery and auditory signals with very little communicative human dialogue (similar to what was attempted in the surreal, fragmented, non-narrative imagery of the Qatsi trilogy - from 1983 - 2002, from Godfrey Reggio).

Two films came out this year that had brilliant cinematography and very little dialogue, the difference is mad max didn't put me to sleep and it had action scenes that pushed the story forward rather than happen in the background and force the audience to squint to even make out what's happening.

You can enjoy the way they create little flashes of wit in the dialogue, which enlivens what is, after all, a formula disaster movie.

Here's the thing: every time a character is introduced, every time a seemingly throwaway line of dialogue is given that little extra emphasis, every time the classic three - act structure requires a very particular plot development... you know exactly what's coming next.

In the film's instant - classic opening, Spielberg uses little dialogue as he follows Rudolf Abel (Mark Rylance) through what looks like a routine but also includes a tiny, crucial bit of spy - craft as he picks up a coin containing a coded message on a park bench.

Some of the new geopolitical dialogue sounds a little strange to the ear, as when an American colonel stands near the border between West Germany and Czechoslovakia and fearlessly barks, «What we have here is primarily a public relations role!»

This weak riff on Sergio Leone's classic western — just a little too pathetic to be endearing — sets the general tone for the film's dialogue and humour, which runs the gamut from «that's what she said» to «your mum».

There's little dialogue in the film, and what's there can't even define the people we see, let alone give them names outside of the credits.

There's almost no dialogue, and what little there is feels like it takes place within the half - heard context of a dream.

Monster Hunter 3 Ultimate puts on the training wheels just long enough to make you feel comfortable with what you're doing, and then tosses you out into the wild to hunt giant, memorable monsters with little to no forced story interactions, cutscenes, or lengthy bits of dialogue.

What's worse is the Mayers are given little dialogue.

Jarmusch gave the actors little dialogue to work with, and much of what he did give was recitation of poetry.

Although it's a French film, there's practically no dialogue, and what little there is, isn't essential to know.

I sent him a list of little character ideas and moments and some dialogue and then he got excited and he said, «I think it feels like something, feels like there's a movie behind it,» and, «lets write and see what it is.»»

There is faith and trust here and a situation that has little dialogue, rather relying on facial expression and body language to convey what is going on.

What he excels at here is making his dialogue sound and feel natural — though there are arguably a couple moments and scenes that feel a little forced.

They know what kind of trader they are, so there is little internal dialogue of doubt or confusion; they just trade.

What little plot there is at first is told through cryptic cutscenes and off - hand dialogue that gradually becomes clearer the deeper in you go.

The dialogue here — what little of it there is — flows far more naturally, while the over-the-top nature has been toned down quite a bit, although long - time fans shouldn't feel worried as this is still very much a Metal Gear Solid game and thus some weirdness still exists.

The big twists were freaky, but what really made the game for me were the tiny details: the little glitches, the slight changes to the dialogue, wondering if something out of the corner of your eye had moved or changed without you noticing.

I love what you did with the dry version of the level, all the little dialogue changes and everything.

If you're interested in learning a little bit more about what makes Night in the Woods tick, join Jon Manning (quoted as 50 % of Secret Labs) as he discusses how the studio open - sourced Yarn, the dialogue system responsible for managing all of Night in the Woods» text.

It is aimed at the little ones in that buttons flash over the head of the character you're supposed to use and dialogue instructs you what to do.

Ico and Shadow of the Colossus are famous for having so little dialogue, but in The Last Guardian a narrator — who seems to be an older version of the player character, judging by how he uses the first person — will gives you «hints» at what you must do next, which is nice, but having the deathly silence interrupted by an unintelligible language is a bit distracting, to say the least.

Blake Gopnik wrote something about that a little while ago, how if we don't have brick - and - mortar galleries to give us these shows then we don't have a true dialogue where we're collectively deciding what is and what's not important to preserve.