Sentences with phrase «whose first scene»

Judy Greer and Jenna Fischer play tough - cookie religious moms whose first scene is a badly written beef with a teacher.

Not exact matches

The parables disclose with what pleasure and tolerance he surveyed the broad scene of human activity: the merchant seeking pearls; the farmer sowing his fields; the real - estate man trying to buy a piece of land in which he had secret reason to believe a treasure lay buried; the dishonest secretary, who had been given notice, making friends against the evil day among his employer's debtors by reducing their obligations; the five young women sleeping with lamps burning while the bridegroom tarried and unable to attend the marriage because their sisters who had had foresight enough to bring additional oil refused to lend them any; the rich man whose guests for dinner all made excuses; the man comfortably in bed with his children who gets up at midnight to help his importunate neighbor only because he despairs of getting rid of him otherwise; the king who is out to capture a city; the man who built his house upon the sand and lost it in the first storm of wind and rain; the queer employer who pays all of his men the same wage whether they have worked the whole day or a single hour; the great lord who going to a distant land entrusts his property to his three servants and judges them by the success of their investments when he returns; the shepherd whose sheep falls into a ditch; the woman with ten pieces of silver who, losing one, lights the candle and sweeps diligently till she finds it, and makes the finding of it the occasion of a celebration in which all of her neighbors are invited to share — and how long such a list might be!

The best idea — in fact, a brilliant idea — was casting Will Ferrell as the title character, a klutzy supervillain who vanquishes the good guy (Metro Man, voiced by Brad Pitt, whose part is fairly small) in the first scenes and then gets bored.

Ever since he first burst upon the scene in 1988 with his hypnotic debut feature «Tales from the Gimli Hospital,» Guy Maddin has been one of those filmmakers whose new work I most eagerly look forward to seeing.

Yet even as badly written and directed as it is, the character interplay is not without its occasional fringe benefits, including Richard Chamberlain's early scenes with Newman, Holden, and Susan Blakely; and a surprisingly good, though brief, performance by soap opera first - stringer Susan Flannery as Lorrie, a secretary whose love - tryst with Publicity Director Dan Bigelow (Robert Wagner) turns into a nightmare.

Here is the story of a man whose first pivotal memory is as a young servant picking cotton at a farm in the South, helplessly watching his father being murdered in cold blood for daring to call out the owner for raping and beating his mother, and whose final scenes in the movie see him visiting the White House after voting for the first African American President of the United States.

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.

Demented playboy Bruno (Robert Walker, whose insidious insincerity is unsettling from his first scene) meets champion tennis player Guy (Farley Granger) with marriage problems (he wants out of a loveless marriage to marry Senator's daughter Ruth Roman, but his wife to refuses to grant a divorce).

In the audience, the real Wiseau arrived quietly and sat next to Greg Sestero, his friend and «The Room» costar whose behind - the - scenes memoir was the basis of the Franco film, watching «The Disaster Artist» for the first time.

It also comes with a staff — including head zookeeper Kelly Foster (Scarlett Johansson), her niece Lily (Elle Fanning, whose character has an on - and - off first - love relationship with Dylan), temperamental grounds - keeper Peter MacCready (Angus Macfadyen), and others who fill in the background of scenes (including Patrick Fugit as the reptile expert and Carla Gallo as a rabble - rouser who thinks Benjamin is in over his head and sure to fail)-- and multiple business expenses.

Dench always is a pleasure to watch, as is Depp, whose scenes with Branagh are first - rate.

It's hard to look at the performances of Bardem, Skarsgaard, Quaid (The Ice Harvest, Brokeback Mountain), and, especially in the last half, Portman (whose first on - screen nude scenes have generated some buzz, though I should warn the perverts that they come during moments of nearly unwatchable torture), and not think Forman is treading a fine line between misery and mirth, devilishly seeing the folly of the the beliefs of those in power at the time, while also not afraid to show the seriousness, and deadliness, of their actions.

The brackets that enclose the film's title in its credit sequence and poster design reinforce the sense of enclosure provided in the first and last scenes: in the former, the black Mercedes pulls into a garage whose door closes behind it; in the latter, by this time living at a New Age retreat in a stretch of New Mexico desert that looks uncannily like southern California, Carol shuts herself in a hermetic, porcelain - lined igloo.

Then things get extremely self - referential, as Deadpool interjects in the scene from X-Men Origins: Wolverine where Hugh Jackman's character comes face - to - face with Reynolds's first, much - maligned iteration of Deadpool whose mouth was literally sewn shut.

The studio did release a surprise today, though, in the form of a behind - the - scenes featurette, which provides us with a first look at the character Riley in whose head much of the film will take place.

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.

Joe's first real test of medical skill is on a pilot whose plane takes a hard landing in a training field; after rushing to the crash scene, he is stunned to come face - to - face with a gorgeous Rita Hayworth lookalike.

First - time graphic - novelist Weing has produced a beautiful gem here, with minimal dialogue, one jolting battle scene, and each small page owned by a single panel filled with art whose figures have a comfortable roundness dredged up from the cartoon landscapes of our childhood unconscious, even as the intensely crosshatched shadings suggest the darkness that sometimes traces the edges of our lives.

A fine contemporary thriller writer, whose First Blood gave our culture the immortal Rambo, Morrell handles characterization very well and creates dazzling action scenes.

And in 1931, Matisse was the subject of the Museum of Modern Art's first monographic exhibition, organized by its founding director, Alfred H. Barr, Jr., whose continued advocacy of Matisse (organizing a larger retrospective, and authoring a substantial monograph in 1951) solidified Matisse's relevance to a younger generation — right as the New York art scene was on its way to replace Paris as the art capital of the world.

As one of the first galleries worldwide to do so, since its first contact in the middle of the 1990s, the Galerie Urs Meile has also been intensively involved in the Chinese contemporary art scene, whose protagonists now participate in the discourse on contemporary visual art at the highest international level.

The exhibition is the first retrospective dedicated to John Giorno, American poet, performance artist, and iconic figure of the underground scene of the Sixties, whose work was influenced by the encounter with artists like Andy Warhol (he played in many of Warhol's early films), Jasper Johns, Robert Rauschenberg, John Cage, Trisha Brown, and Carolee Schneeman.

The exhibition which will feature both works on loan and for sale — is a collaboration between Sotheby's Modern & Post-War British Art department and the legendary Sixties dealer Kasmin, whose gallery at 118 New Bond Street (just up the road from Sotheby's) was the first «white cube» space in London and the scene of many ground - breaking shows, including Hockney's first major solo exhibition at the end of 1963.

Before Kalm broke out as a YouTube phenomenon, he was a writer for The Brooklyn Rail (where I first met him) whose understanding of the ins and outs of art history — and the tendency of its institutional gatekeepers to simplify the matrices of innovation and influence — fed his passion to chronicle as much as he could of the dynamic contradictions defining the contemporary scene.

Inside the Studio shares for the first time the invaluable archive of audio recordings made during these events, excerpting from approximately 75 of the most fascinating to provide an exceptional oral record of these artists» thinking about their working processes, conceptual issues, the current scene and artists whose work they themselves admire.

The term «Ashcan School» - first used in print in the book Art in America in Modern Times (1934) edited by Holger Cahill and Alfred H Barr - refers to a loose - knit group of American painters active in New York (c.1900 - 15), whose works depicted scenes of everyday urban life in the city's poorer areas.

And the Valentine incident coincided with the first major U.S. show by the Matahati collective, whose five members have long been known as the «rock stars» of the Kuala Lumpur scene.

The current version of the prize, first awarded in 2009, is given every two years to a Swiss artist or artist who has lived in Switzerland for at least five years whose work has drawn critical acclaim on both the Swiss and international art scenes.