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Distance in sentence

1499 examples of Distance in a sentence

War is only glamorous from a great distance and in games.
This one has a cowboy whose specialty is long distance races going to the Middle East to race there because they do not like the claim that he is the best long distance racer there is.
He is defeated in the election because he shows a high level of distance from the people.
Until "Alien Abduction" there was a considerable unbridged distance between your basic high-end "soft core" movie and your basic poorly written/generally unwatchable feature (insert "Zoolander" here).
The night before renting "bitch" I had a lively discussion with friends and colleagues about the number of fun and interesting movies that have come out of this great city, including "Night of the Living Dead (1968)" "Robocop (1987)", "Gung Ho (1986)" and of course "Striking Distance (1993)".
Anyone moved by the ending of "City Lights" will love the ending of "The Circus:" Chaplin's character, strolling toward the horizon, leaving love and friends behind, disappears into the distance, setting up a scenario to be repeated in "Modern Times".
Clair reminds us that this world has vanished into the mists of time by the careful use of pastels--lavender, gray, pink--and by the camera receding into the distance: you hardly ever see a close up, most shots are long or medium.
Its exploration of the almost entirely different worlds occupied by those fighting a war and those watching from a distance grabbed me from the first moment and kept me totally absorbed until the end of the final credits.
She gazes, ruefully, down a broad road leading off into the distance as she stands on the brink of where her town and general dwelling area meets wilderness; a longing look on her face and an uneasy establishment of power over a rather forlorn figure established within us.
One has seen a light in the distance (in the jungle) and all except one go to find what it is, and it's an old ruin with a lighted lantern.
It's been a while since I experienced in the movies, a mother's love for her young child, and vice versa, being the primary focus of the film, especially with one that dealt with distance and longing.
Moving to the right, moving away from the human subjects, the distance between the disembodied voice and its physical source creates a spatial chasm that denotes fluid time, as the grandfather narrates about an epoch in the future which he might not live to see.
The cinematography is beautiful, making full use of the lovely beaches of Okinawa, and the shots tend to linger on a face or a car driving off into the distance, which creates a sort of hypnotic effect on the viewer.
In every western movie you see somebody shooting with an old muzzle loader 5 miles and kick the rider from the horse; in every movie you see cowboys shooting from the hip, without aiming on a silver dollar thrown into the air, you guess, they hit, not to speak that villains do not get their opponents although they fire from close distance, let us say 20 centimeters, hundreds of broadsides, while the sheriff is shooting back with one single shot between the eyes of the five bandits.
The counselor shows them this device, something about psychological distance, that I still can't understand after watching it twice.
Other obstacles include an 800 pound weight and Sylvester's miscalculation in the distance from his building to Tweety's in using a rope to swing from one place to another.
First the plot: A policeman investigates a mysterious set of serial killings in which the bodies are attacked, moved a considerable distance and systematically dissected in less than a minute.
The story shows the distance between two people due to a lack of time.
Richard Burton is completely and utterly unconvincing as a gay man, and Rex Harrison seems absolutely lost, constantly squinting off into the distance as if he was looking for Eliza Doolittle, or at least a decent Pushmi-Pullyu.
Some of the dialogue has been lifted straight from the play and so can sound a little stilted, but in my opinion this device helps to maintain the necessary distance between the action and the audience.
There's one scene where we're watching two characters get out of a car, from a distance, and it sounds as if the characters are right in front of the camera (an obvious use of ADR).
Hollywood tries to emotionally seduce its audience, while Angelopoulos looks for means to occasionally distance his viewers from their emotional responses.
In the Philippines, were traffic is part of the daily commute, we measure the distance between two locations not by miles but by travel time.
Stillman strikes just the right note in a story that touches on pains and fears that are genuinely daunting (divorce of parents, love unrequited, etc) as well as the comic value of his characters' earnestness and foibles, keeping just the right distance so that comedy keeps just ahead; all leading to the modest but charming triumph of the shy and virtuous protagonists.
The characters are always viewed from a distance, reflecting Labute's background in theater (if you like this, by the way, read Bash, it will blow your mind) and allowing his actors to be as realistic and naturalistic as possible.
In a later scene when Ben 'walks, runs' to her home late at night, the viewer learns there must be some distance between the two homes.
I find it absolutely amazing that the writers always manage to avoid the trap of becoming sentimental or moralizing but always keep a healthy distance.
Given how difficult travel was at the time, and the distance to be covered, it was not clear to me how Alyosha ever figured he could make it home and back in six days.
An illustration of the low budget is when a motor boat is "destroyed," you only see this as a CGI image from a distance.
The distance between the novel and the movie is similar to H.G. Wells "War of the Worlds" and Cruise-Spielberg movie or Lem's and Tarkovskij's "Solaris".
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