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Principals in sentence

93 examples of Principals in a sentence

It starts off with a rehash of the opening of the original with a different twist sebastian instead of putting the shrinks daughter's naked picture on the net he puts the schools principals wife in the school directory naked.
This film unlike the spruce goose could not fly for it had no plot in the principals returning for a 'necklace'.
The acting is the worst ever for most of the principals and frankly people who look at this sort of tripe and think it has anything to do with life, love or even afterlife, of which it offers an incredibly idiotic view...need some psychiatric help.
Hence the visual substitution of the beautiful principals (a young Loren, handsome Della Marra, and a slinky Ms. Maxwell)who make the story much more believable, giving those not familiar with the plot or the music a better chance at being wooed into the lovely arias who otherwise might not be.
This is actually a very good film, preserved quite well if the fine VHS transfer I rented is any indication -- excellent acting by the principals, especially William Haines as Brown, and good location work at Cambridge with some fine action footage in the climactic Harvard/Yale football game -- but the story must have seemed a hoary chestnut even in 1926.
The principals and moral convictions in Purple Rain are quite strong and if more movies would rely on the basics we are taught as young children we would have a better all around environment seeing that art reflects life which reflects art.
I don't think of this as a "gay movie," it's an interesting and tender period love story, where the two principals happen to be women.
All the principals turn in solid performances.
To be certain the pacing is a bit slack, more akin to one of Principals (the producing studios) features then a rip roaring adventure, but it's still enjoyable.
Half of the fun here is watching the principals trying to outwit each other without hating themselves.
Yes you see a few characters but they really only interact with the principals.
The three principals, all unknown to me give very sure-footed performances, the kind, in fact, that may be so natural that it will be difficult for them to replicate this quality of acting in other films so I wouldn't be too surprised if they are not heard from again.
This was the second of three films that Irving Berlin wrote for the Astaire-Rogers franchise and it has by far the largest score and is somewhat unusual in that two of the numbers are performed by Harriet Hilliard leaving the rest to be divvied and/or shared between the principals.
The Secret Fury, in many ways a run-of-the-mill romantic suspense drama (directed by Mel Ferrer) boasts top-notch principals in Colbert and Ryan; it stays puzzling if not quite gripping until towards the end, when implausibility conquers suspension of disbelief -- as so often it does in this genre.
Much of the detail escapes me now, but I was captivated by the way in which the principals hammered out their working relationship, which was not without its problems.
With two of the principals dead and the other in jail, I don't understand why the film makers skipped and/or took liberties with key details, and didn't delve headfirst into the sleaze fest that was the real story.
In viewing this film multiple times, I was struck by a new facet of the character of the film's principals each time I viewed it.
William Styron's book has become an embalmed actors' showcase, with the three principals each doing contemplative-turned-combative bits of character business, to little avail.
This is merely a photographed stage play for basically four principals - Melvyn Douglas and Fred MacMurray acting like teen-agers vying for common wife, Jean Arthur, with Harry Davenport in support as her father.
In fact, they get a huge amount of work in this cheesy quasi-medieval movie, playing all the extras and even some of the principals.
The absence of dialogue between the two principals (everything that needs saying being conveyed in whispers) was an interesting way to go and the look of the movie is (as usual, for this particular director) beautiful... but the surreal ending, which on the face of it seems to have no reason for being whatsoever, undermines much of what has come before.
Even when he punches out the big kid in the principals office.
The principals and producers weren't really comfortable with the material and it showed.
A lovely character study/comedy-drama richly deserved--yet did not get--Oscar nominations for all three of its acting principals (it did receive one nomination, for Robert Benton's original screenplay).
Sadly, it's neither, and as limply directed by Gary Winick ("13 Going on 30"), it seems targeted squarely to privileged pre-adolescent girls because the two principals reflect the obsessive, childish mindset of that age.
Peer pressure, petty crime and violence mark the lives of the principals and the lure of a gun and its power result in a showdown between the reluctant Omar Epps and the psychotic Tupac Shakur.
The three principals are terrific.
The acting of the principals was superb.
In this movie, I saw the basic principals of goodness and value, which we all were taught as children, become relevant in the "real world" of that era-and most definitely more relevant today.
Principals like "Do to others as you would have them do to you," "Turn the other cheek," "There is no greater love than to lay down your life for a friend."
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