Essentially
in sentence
1636 examples of Essentially in a sentence
The director has done a brilliant job of conveying the dark mood of the subject, using the decadent art scene as a backdrop to what is
essentially
a tale of love spanning time and space- the pure love of friendship opposed to the lust for blood and life by the vampires in the story.
That is the question this movie
essentially
poses to the viewer.
In the midst of so, so many current movies based on
essentially
surreal and often implausible plots, stumbling upon "Chop Shop" is like finding a little gem.
LAUGHING GRAVY was
essentially
the same plot except that Stan and Ollie were trying to hide a cute puppy from their grouchy landlord--not a goat like in ANGORA LOVE.
This was
essentially
a movie that didn't need to be made.
Guy Madison leads a band of guardhouse soldiers and misfits to rescue two white women being held by Indians, which
essentially
all there is to this film.
Once Spanky and Buckwheat are in Marshall Valiant's home, Spanky tends to interact mainly with the adults and the chemistry of the children is
essentially
lost.
This
essentially
tradition rooted melodrama is given only a moderate budget, despite the presence of a goodly number of well-known players, including Steve Buscemi, Anthony Quinn, and Stanley Tucci, and was kept in the can for about a year before its rather desultory distribution and leaden marketing efforts on its behalf, more's the pity as its solid production characteristics are firmly complemented by Alexandre Rockwell's admirably controlled direction, a consistent virtue of his work, and on display in this film from its very opening scene, frames that form a montage behind the credits, featuring Perez at Skid Row's Fifth and Main Streets.
It didn't villainies either Mr. or Mrs. Kramer and it was refreshing, I think, to see two people
essentially
work the issue out on their own and eventually do the best thing for Billy.
This film is
essentially
for those who have had little or no introduction to hip-hop, specifically turntableism, as was the case with the director before he started this film.
Good show, really good acting, and the director takes us swimming through his storyline in an interesting, unpredictable way, especially since, essentially, it's two people in a room.
He and the production staff have lovingly and meticulously recreated that world in a film where all the characters are
essentially
fictional.
The technique is
essentially
the same, or at least very similar, in this film detailing on the one hand a trial of dissidents in California in the (apparently) near future, and on the other the attempts of a group of convicted "criminals" to slog through 50 miles of desert to win their freedom in a government-run "punishment park" as an alternative to prison.
There is some continuity with plot development and character interaction/relationship building, despite the
essentially
modular nature of each episode.
If one is born poor, one stays poor; if one is born into the bourgeoisie, one has a tiny bit of opportunity; if one is born into the wealthy class, they
essentially
have it made in the shade.
This was
essentially
a remake of "Diagnosis Murder" minus Victoria Rowell, Scott Baio & Charlie Schlatter.
The story - which I believe had been done before and since by other Japanese directors - is a bit straighter than my favorite Mizoguchi films (SANSHO THE BAILIFF and UGETSU MONOGATARI), and is
essentially
a tale of tragic romance, in this case a transgressive romance that crosses strict class boundaries.
Willie
" essentially
marks the beginning of the success of the Walt Disney Company.
Linnea Quigley isn't over the top as she was in "Return of the Living Dead" where she danced naked on a crypt, but she is still
essentially
the same slutty character.
(This one may actually be more honest about it, though, as it
essentially
admits along the way that it's not to be taken as particularly fact-based, but more of a stylishly semi-heroic portrayal.)
Hasselhoff gives it his best, but he is not
essentially
a film star, and his television persona gets in the way of his performance.
The 1980's 'My Dinner with Andre,' with Wallace Shawn and Andre Gregory, is
essentially
a dialog about the world and how it affects and can lift the spirit.
There are, undoubtedly, some stinker-episodes, but it's
essentially
an old pulp-comic turned into a TV-show, so that can be expected.
Yes, there had been a little bit of sound and speaking inserted into his previous film, MODERN TIMES, but it was still
essentially
a silent film.
Aaron Carter is
essentially
playing a character quite similar to himself in real life, and still he manages to make the character seem corny and not at all realistic.
A number of devices, such as slide projectors, are used to enhance the story, but this is
essentially
good old-fashioned performance art.
The film is
essentially
ruined by one of the world's most irritating actresses, Lesley Anne Down, who plays the lead.
How the hell did they get this made?! Presenting itself as a caper comedy, the misbegotten "$" is
essentially
two hours of people mumbling sentence fragments.
I wanted to like it, but the shallow script cheats the audience, by
essentially
giving the actors nothing to work with.
You've got future SNL and SCTV stars in their prime, such as John Candy, Chevy Chase, Laraine Newman, Al Franken,Tom Davis and Joe Flaherty
essentially
making 70 minutes of coarse, uninspired fart and racist jokes.
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