Intensity
in sentence
525 examples of Intensity in a sentence
The
intensity
throughout the movie was an emotional roller-coaster to me.
This one however being a prequel to the remake had a raw
intensity
that I had not seen in years and I loved it.
i had always associate Yeong-ae Lee with a sort of saccharine , sweet piety but watching it showed a different side and made me admire her deep humility, a virtue that is strange to us now a days, Yeong ae Lee infuses her character with beauty , wit, and
intensity.
Director Phillip Kaufman stirred up quite a bit of controversy when this film was first being released, most likely because of the
intensity
of the love scenes, but after watching the DVD I am now thinking that this film could have maybe slipped by with an R rating.
Even as formidable a presence as Mirren's can't stand up to the lunatic
intensity
of Hoskins' performance.
What the movie lacks in realistic language and violence it more than makes up for in
intensity.
While the movie did have a relatively slow pace, the
intensity
of each stories climax made for a fulfilling watch.
The action sequences as well as the
intensity
of the acting by Kiefer in the last 12 minutes left me on the edge of my seat, more than ever!
it is the same
intensity
that she brings to every role that makes her a star, and an annoyance when in the wrong mindset.
For the particular movie fan, The Beat That My Heart Skipped, is a slice of intensity, wonder, and subtlety that can only come from Europe.
For me it held a good amount of
intensity
all the way through.
I thought the camera work was good and the different techniques often added to the
intensity
of the situation when required.
Director Tobe Hooper's masterful talent for crafting a raw, rattling and uncompromisingly fierce
intensity
that slowly, yet surely builds to a nerve-wracking fever pitch in the harrowing last third (the infamous diner table sequence is particularly horrifying) has never been matched or surpassed in either any of the subsequent sequels or in the needless and atrocious overly graphic remake.
A movie can be slow and have much more
intensity
and thoughtfulness.
They don't make this kind of movies these days...right from the start till the very end it's all full-throttle action...and the thing that gets you is this : you don't expect much of it when you see the title and info, thinking "yeaahhh...another dumbass kids movie"...and though it has a few aspects that defy a realistic movie, but man, it becomes more and more engaging by the minute and keeps you focused with its breathtaking scenes and intensity...I mean, damn...this is a well-built movie people, good acting, good plot, strong moral values...and it's all done by simple means and lines, not like the majority of the movies you see now with great actors, boring scenarios and pathetic lines.
Yul Brynner and Kirk Douglas bring
intensity
to their roles.
Henry King directs it all with some intensity, especially a harrowing and spectacular Zulu attack, and uses the wide screen well to capture the spaciousness of the land.
He truly believe he is saving this virtual world, and he plays with such veracious
intensity
that he ends up forcing the machine to explode, causing us the audience to look on in empathy for this lost soul.
Far too often, the momentum, the
intensity
was lost, if only for a second or two.
I saw this film at the New York festival last June and was impressed by the
intensity
of the narrative: with a small cast and a small budget Ms. Sinclair draws the viewer in and never lets you rest as the heroine has her life destroyed and then is thrust in a circumstance where she has to confront the monster who has made her life a living hell.
Once into its stride, however, this classic tale progresses with relentless fatality to explore all the sadness of loners and drifters with such heart-breaking
intensity
that it really gets you at gut level.
Bob Steele is totally convincing as the repellent young husband of Betty Field, whose manic jealousy and general paranoia rise steadily to a crescendo of
intensity.
But, the paintings were very nice and there was a definite dark
intensity
to the painting, to the painter and even Dourif, himself.
"Ordeal" is an effective re-casting of the original, but Arthur Hill cannot match the grim
intensity
that Robert Ryan brought to the role of the stranded husband.
the "problem" in the story did not match the
intensity
of the mystery in the beginning of the movie.
I think maybe it's because the main role doesn't reflect the hard conflicts he's living in and with the exception of Byrne and Roth -both giving strong performances-, the rest of the cast is halfway through the
intensity
I assume was really needed to make us live the plot.
There's none of the
intensity
expected of those life-and-death situations that distinguish the era's better war films (Bridges of Toko-Ri; Pork Chop Hill; Retreat, Hell!).
It is really entertaining and is fairly surprising in its
intensity
towards the end.
Ray Liotta's
intensity
at the beginning should have been capitalized upon, but he loses it halfway through.
The emotional undercurrent at first seems subtle and subdued, but has a constant underlying
intensity
that is unavoidable and finally sweeps you away with it.
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