Manages
in sentence
975 examples of Manages in a sentence
There are a great many ways in which a film can become hackneyed, and this one
manages
to utilize most of them, including an obligatory slow motion bedroom scene of passion.
The movie itself is a dirt cheap, gratingly awful attempt at a horror western, and
manages
neither, never mind a successful merging of the two genres.
What little interest the story
manages
to raise is knocked down further by their wooden dialogs.
Turpin tries to horn in on Chaplin's action after the studio head hollers, "Next!" Chaplin
manages
to walk in over Turpin, however.
Charlie amusingly
manages
to botch jobs as an actor and carpenter.
In the end, he
manages
to get a big break, but will a star be born?
The plot is disjointed and doesn't really get going until the last 15 minutes or so; and when Wynorski finally
manages
to create some suspense, a ludicrous "twist" ending comes and ruins everything.
A abysmal failure at droll Irish comedy with Spacey as a thief who enjoys outsmarting the cops and his competition becoming a sort of folk hero in his own mind, this flick
manages
to be mildly amusing when it's trying to be funny, slightly more than boring when it's trying to be interesting, and forget sentimental or poignant or endearing though it takes shots at those qualities as well.
"Ripe" is one of those awful indies which
manages
to get into circulation and give indies a bad name.
The film
manages
to coast as far as it does on the strength of Christie's plot alone (all her plots have a certain amount of inherent interest), but the direction is hopelessly flat.
Gargoyle starts late one night in 'Romania 1532' as a peasant girl (Daniela Nane) travels along in her horse & cart minding her own business when from the moonlit clouds above a living Gargoyle swoops down & attacks her, she
manages
to escape the Gargoyle & happens upon a castle of some description where an angry mob of local villagers & a Priest are able to put an end to the Gargoyle, or so they think... Cut to present day Bucharest where two CIA agents Ty Griffin (Michael Pare) & Jennifer Wells (Sandra Hess) are about to negotiate the safe return of the son of a rich American ambassador from his kidnappers.
The older sister catches up to her younger sibling several times but the latter
manages
to escape and go on the run again.
Throw in a plot that
manages
to be interesting only episodically and literary parallelism that never delves deeply enough to truly satisfy.
Seems to have something to do with a bunch of girls that were at a convent back in the day and now they're all grown up and they're being pursued and killed one by one by a nun that comes out of the kitchen sink, the toilet, and even
manages
to negotiate the revolving doors in a hotel.
Conroy
manages
to convince his mistress (who Willis treats rather rough) to help him prove Willis is a killer.
Just when I thought it couldn't get any more pathetic and cheesy than "Woodchipper Massacre," just when I thought dialogue and acting couldn't get worse than "Nail Gun Massacre," just when I thought "Don't Go In The Woods" would retain its title as Lousiest Slasher Film Ever, along comes "THE LAST SLUMBER PARTY!" Somehow, this cheap, wretched manure
manages
to avoid lewdness, but it remains terrible!
Kieran Brew
manages
to portray Hans Christian as mentally retarded rather than the brilliant though very disturbed character he indeed was.
However, at the same time, it
manages
to remain light hearted and fun.
It is a joy to watch Bobby Van, whose acting puts me in mind of Red Buttons, and, as always, George Kennedy (Cool-Hand Luke) who always
manages
to carry gravitas in his roles.
One of the more impressive things is that the film
manages
to make a golf game look really exciting.
Excellent documentary that still
manages
to shock and enlighten.
The Girl runs into the near creepy house, blocks the doorway, but zombie Michael still
manages
to break through, and when he touches her she screams to see normal Michael say "what's the problem?"
In the process of investigating the murder, Sam shortly runs across: the Gene Tierney lookalike daughter (Michelle Phillips) of Anastas, an avaricious, obscenely wealthy Greek shipping tycoon (Victor Buono, turning in a creditable Sidney Greenstreet), his hapless, long-suffering second wife (Yvonne deCarlo, who
manages
to play a variety of put-upon emotions without saying a word), his two smarmy henchmen (Herbert Lom, channelling Peter Lorre, and Jay Robinson, doing a reasonably accurate Lionel Atwill), and Anastas' vicious, amoral Middle-Eastern potentate (Franco Nero) who comes complete with a glamorus and bafflingly loyal mistress (Sybil Danning), all of whom would give anything to acquire the "Eyes of Alexander", two huge, perfectly matched star sapphires.
While he exposes a lot of things that are below the surface he
manages
not to take a stand and leave that for the viewer.
Norman Wexler's incisive Oscar-nominated script is superbly enacted by Peter Boyle (in a powerhouse performance) who
manages
to make his garrulous, down-to-earth yet hypocritical and opportunistic character (with a barely-disguised fascist streak which comes to the fore in the remarkable violent conclusion) likable, even admirable; indeed, he comes across uncannily like a flabbier version of the young Marlon Brando!
She is upset to learn that the doctor has died,leaving his assistant Doctor Masters in charge.She is unnerved by the inmates including a crazy Judge,a shell-shocked Vietnam vet,a catatonic and a creepy nympho,but is soon befriended by a hulking black man Sam.She needs all the friends she can get as people are dying all around her."Don't Look in the Basement" is my first horror film of S.F Brownrigg.Despite its low-budget it
manages
to provide some genuine chills plus a nice amount of cheap gore including a particularly nasty scene with a desk-spindle through an eyeball.The climax of inmates taking control over mental asylum is an intense melange of wild camera-work,gore and piercing screams.8
Still, in the time remaining he
manages
to kill off all but two of the expedition and in the case of the girls having sex with them first (or afterwards in at least one case!) and this film is not as slow as some maintain.
This is the second Bruce Willis film in a row that
manages
to tell its story with no nudity, off-color humor, profanity, or gratuitous violence.
As a Hallmark movie, the costumes, sets, and production amenities are beyond reproach and the script still
manages
to seem fresh and funny, despite some familiar themes.
One of the soldiers
manages
to find an inner strength and spirituality, incomprehensible to the other man.
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Still
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