Identity
in sentence
1935 examples of Identity in a sentence
Ruby is starting to live on her own and establishing her own
identity.
But a serious case of mistaken
identity
occurs when Oberon's "Lady X" (that's all she leaves Oliver in a note) is thought by Olivier to be a married woman.
Jim McKay gave a talk (Q&A) about the film afterward which presented his ironic situation: how to get distribution for a film which portrays minorities (women, non-whites) working on resolving controversial issues (teen pregnancy, teen motherhood, racial identity, single-mother households), and how to write a faithful script on all of these topics being a mid-thirties white male.
When The Matrix appeared in 1999 and questioned existence and identity, it was expected that a lot of movies would use it as inspiration.
The theme of this movie is that everyone is acting, trying to re-invent themselves, but not in a tricky way like
Identity
or the Usual Suspects, but in the way we all try to make whatever banal life we find ourselves in a little more interesting.
He now has a name, an identity, some memories and a a lost girlfriend.
It is a classic shot that evokes dread into any good fan of the genre and is a great to keep the killer's
identity
a secret.
One of the most important things of "Cero y van cuatro" is the open invitation to profound reflexion over our current
identity.
They are given over to the war machine, body and soul, for no reason other than to protect and serve; they have no personal
identity
other than a name and rank, and no autonomy whatsoever.
"Panic" is a captivating, blurred-genre film about a brooding and conflicted middle aged hitman's reconciliation of infatuation with a younger uninhibited hairstylist, his love of wife and son, his duty to his employer/father with his own
identity.
The very nature of it's almost interactive effect, will cause people to leave the theater either liberated or questioning their very
identity.
Along his training, Morgan is brainwashed, assumes a new
identity
of Jack Thursby and travels to boring lectures.
Ronald Colman plays a famous Broadway actor who has begun to lose his mind and sense of
identity.
With the help of her animal friends, her true
identity
is revealed.
"The Bourne Ultimatum" begins recklessly mid-chase and in pulse-pounding fashion explodes from there as Jason Bourne (Matt Damon, absolutely superb) tracks down the masterminds behind the CIA black-ops that turned him into the perfect killer in a final attempt to learn his true
identity.
He social-engineers his way into a London men's club and learns the
identity
of the best computer experts in town, he steals the
identity
of one Caesar Smith, who has just left town for South America to pursue his hobby of collecting moths in the wild.
However, director Ivan Reitman and writer Don Payne (of the "Simpson's") almost fatally miscalculate in having their hero G-Girl (played by striking Uma Thurman) come off as a total nut job as both Superhero and secret
identity
persona Jenny Johnson.
It has weaknesses, and it seems to be having a genre
identity
crisis, no doubt, but I think its creepy atmosphere and intriguing performances make up for this.
Because they lack paranoia, misogyny or hysteria, they may have seemed out of place at the time, but the clear-eyed imagery, the complex play with identity, masculinity and representation, the subversion of traditional psychological tenets, the austere, geometrical style all seem startlingly modern today, and very similar to Melville.
Mistaken identity, plot twists, a young Franchot Tone, love stories, even Jean Harlow in a bathing suit in "Palm Beach", although the outdoor scenes of downtown appear to be a backdrop.
After the war, he tries to conceal his identity, but the past comes back and haunts him.
Apart from the twist as to the
identity
of the killer in the very end, the hot bath murder scene was one of the few relatively memorable aspects of this movie.
Sin has a friend called Li Ho (Meng Lo) who is the Toad and they do know of each others
identity.
I've often wondered just how much CASPER was meant for children...with all the issues revolving around his
identity
(in this film we are lead to believe that he is the spirit of a dead child, as his home is a cemetery plot), as well as the disturbing message brought by this particular film.
It's wonderful to see that Shane Meadows is already exerting international influence - LES CONVOYEURS ATTENDANT shares many themes with A ROOM FOR ROMEO BRASS: the vague class
identity
above working but well below middle, the unhinged father, the abandoned urban milieu, the sense of adult failure, the barely concealed fascism underpinning modern urban life.
When Wayne knows his real identity, he chases Michael shooting a big gun, until he gets in a car with Lyle from Dallas (Dennis Hopper).
I am beginning to see a very consistent pattern form in the
identity
of 2007's films.
In that sense it repeats a theme common to French films: society is real,
identity
is a construction, freedom is criminal.
Its subtle themes of belonging, identity, racial relations and especially how colonialism harms all parties, transcend the obvious dramatic tensions, the nostalgic memories of the protaganiste's childhood, and the exoticism of her relationship with her parents' "houseboy," perhaps the only "real" human she knows.
The usual Wodehouse plot devices of mistaken
identity
and jumps to wrong conclusions wear thin in a full-length film.
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