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Contrasts in sentence

132 examples of Contrasts in a sentence

It's a country of such contrasts, but it's a nation of nations.
When you stand still, you just see the light and dark contrasts.
It has many contrasts.
Contrasts are marked not only with Garland's and Durbin's musical choice but also with their height, poise, and movement.
The screenplay contrasts the world of fast money and deadly acts with the inexplicability of fate and circumstance.
It was also a visual documentary of Istanbul with stark contrasts of old and new, western and eastern, poor and rich, modern and traditional.
The title sums up the film's use of compelling contrasts - huge plainland vistas set against intimate horrors; the noblest of motives set against the most degraded; hope turning to dust.
If anything, it brutally contrasts our ambitions and hopes to the often bitter truth.
Just for a small scene, like when Robert Mitchum's Keeely first goes in for questioning under the Captain Robert Young- the contrasts of shadows seamlessly in the room is exquisite.
The director did a wonderful job showing the contrasts between social classes, a situation that is very pertinent in France today.
The quality of the photography on some of the scenes inside bars and floozy joints almost made you think there was a problem with your DVD player because of the bad contrasts and some of the actors were hard to hear at times because of the bad sound.
The cultural contrasts are thus intriguing.
Furthermore Johnnie To succeeds in creating some truly opulent images due to meticulously composed lighting and atmospheric light-shadow contrasts.
The movie is submerged in a bucket full of Freudian symbols, weird melodramatics and colorful contrasts.
Most people, when they think of expressionist cinema, look to the b&w German films of the silent and early sound eras--films that emphasized canted angles, extreme contrasts of light and dark, exaggerated performance, and occasional uses of surrealism to create a dreamlike atmosphere in order to diverge from traditional, naturalistic modes of cinematic representation.
The attention to detail is immense, and contrasts sharply with the later, better known "Sink The Bismark".
A film full of contrasts, both in pictures and in moods.
Such ironic contrasts work through the whole movie: The band leader hears by coincidence the Internationale, thru the love of his daughter for a young die-hard communist and thinks it is THE music to be played for a military audience, not having a clue about it's origins.
The characters of Mr Jonothan and Miss Elizabeth are also complete contrasts - one is nurturing, the other a harsh task master.
This complex and beautiful film is built on correspondences and contrasts; between landscape and society, man and nature, between passive and active, death and life, sanity and madness, the repressed and the unbridled, sexuality and abstinence, comedy and tragedy, alienation and redemption.
Eileen Atkins as the eccentric and obsessive Judith and Kate Beckinsale as the headstrong Flora really make the contrasts work.
A certain number of people are killed during the course of the film, which gives a rather black tone to it, and to be fair, this contrasts alarmingly with the gorgeous exotic sets.
The cast is outstanding: Betty Field's careless and bored character, Mae contrasts with the mighty innocence of Chaney's Lennie.
I say the latter because of all the stark black-and-white contrasts, night scenes and facial closeups.
This movie sets its story in two opposing contrasts one about urban life and country living, and another about young and old.
In as much as I am very much impressed with visual items such as cinematography, special effects, contrasts, colors, etc., when it comes to movies, this is a big letdown.
THE MECHANIK has a bare-bones story - fairly big on the clichés, I might add, though thankfully not including a tired re-found love angle - but it's put together with a consistent style (you'll have to dig the contemporary look & editing, though) and the cinematography looks fine, using faded, stained colors with hard contrasts.
Like MASH, South Park contrasts the perceived obscenity of language and sexuality with the true obscenity of war and violence.
Such contrasts in this film!
but this movie is simply rubbish: poor, senseless plot; flat characters, that is boring stereotypes (sharp contrasts to eizenshtejn's "tipazhi"); pseudo-cool, stupid dialogues.
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