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Relates in sentence

144 examples of Relates in a sentence

This version is more about changes in Eastern Europe from World War II through post-Cold War and how the younger generation relates to that history as a family memory.
Director Ivan Reitman relates the amusingly off the wall comic vignettes at a ceaseless snappy pace and maintains an engagingly good-natured tone throughout.
Director Carlos Gil relates the intriguing story at a brisk pace and does an adept job of creating a compellingly spooky and mysterious atmosphere.
Director Stacy Peralta, who's one of the legendary Z-Boys himself, relates the incredible exploits of this amazing ragtag crew in a ferociously punchy and visceral manner that's both informative and wildly entertaining: the snappy rapid-fire editing, ceaseless speedy pace, and raw, gritty photography deliver one hell of an infectiously kinetic buzz, projecting a sense of sheer joy and full-on bustling energy that's a total pleasure to behold.
Director Bernard McEveety, working from an offbeat and inspired script by William Welch and L.Q. Jones ("Devil Times Five" director Sean MacGregor came up with the bizarre story), relates the compellingly oddball plot at a slow, yet steady pace and ably creates a creepy, edgy, mysterious ooga-booga atmosphere.
Director Don Chaffey relates the endearingly dopey story at a constant brisk pace, maintains an amiably silly and lighthearted tone throughout, and stages the goofy slapstick gags with considerable flair.
Seasoned veteran schlock exploitation expert Jim Wynorski relates the supremely inane story at a brisk pace and takes none of this foolishness remotely seriously.
The title of the picture relates to the illusion or reflection of images, both real and hallucinated, that people in the desert often witness.
To help settle the argument, one man relates the beginning of a story and asks the two other men arguing (one a comic playwright, the other a dramatic playwright) whether the story is a comedy or a tragedy.
The writer/director said in an interview that he didn't want to give away how the title relates to the story.
Director/co-writer Pedro Galindo III relates the gripping story at a steady pace, creates a good deal of nerve-rattling tension, and delivers a fair amount of graphic gore with the brutal murder set pieces (a nasty throat slicing and a hand being blown off with a shotgun rate as the definite gruesome splatter highlights).
What a lot of people don't realize is how well it relates to the Heart of Darkness/Apocalypse Now themes (what happens when so-called "civilization" invades someone elses home, what does it mean to be "civilized" etc.).
There is a lot of political incorrectness, especially as it relates to the Asian performers.
Writer/director William Byron Hillman relates the engrossing story at a steady pace, builds a reasonable amount of tension, delivers a few gruesomely effective moments of savage misogynistic violence (one woman who has a plastic garbage bag with a rattlesnake in it placed over her head rates as the definite squirm-inducing highlight), puts a refreshing emphasis on the nicely drawn and engaging true-to-life characters, further grounds everything in a plausible everyday world, and tops things off with a nice smattering of tasty female nudity.
The Story should not be spoiled by ill informed description but suffice it to say it relates to a young mans slow but inexorable destruction and descent into espionage and treason.
The movie relates to real life and how drugs CAN play a major part.
A surprisingly interesting meditation on the nature of regret in terms of the way it relates to paranoia.
It relates the story of Wang Lung (Paul Muni) a simple Chinese farmer who begins his day with a trip to the 'Great House' where he has taken a slave woman called O-lan (Luise Rainer) and made her his wife.
The opening sequence is excellent where Georges relates his theory on the creation of the world and in the closing scene we discover what God created on the eighth day.
Director Michele Lupo, working from an absorbing script by Sergio Donati and Luciano Vincenzoni, relates the neat story at a constant brisk pace, sustains a suitably gritty, but occasionally lighthearted tone throughout, and stages the rousing action set pieces with considerable rip-snorting brio (a rough'n'tumble jailhouse shower brawl and a protracted mondo destructo car chase rate as the definite thrilling highlights).
Director Duccio Tessari relates the absorbing story at a constant snappy pace, maintains a properly serious and no-nonsense tone throughout, stages the stirring shoot-outs and exciting car chases with considerable rip-snorting brio, and punctuates the narrative with jolting outbursts of explosive bloody violence.
He then relates a garbled version of the biblical story of Samson to justify his retention of long whiskers against the wishes of Pearl, who is the town barber, no less, and who claims if everyone followed his example, she would be out of business.
That's the sort of Felini-like stuff which IQ-starved film students go absolutely ga-ga over, regardless of whether it relates to the rest of the movie or not.
The film then relates this relationship - but to say any more would give away the plot.
But Rosi's film begins with him leaving this country; it relates the long career that he had in Italy, in the drug trade, a time that Americans know little of -- it doesn't form part of the legend.
Director Adam Marcus, working from a clever script by Dean Lorey and Jay Huguely, relates the compelling story at a constant snappy pace, maintains a mean, brutal tone throughout, delivers plenty of nasty gore (a young lady getting impaled on a tent spike while doing just what you think with her boyfriend rates as the definite splatter highlight), further tarts things up with a welcome sense of self-mocking black humor, offers a generous sprinkling of tasty female nudity, stages the murder set pieces with rip-roaring brio (the delightfully outrageous diner massacre sequence in particular seriously smokes), and really goes for broke with a gloriously wild ending which comes complete with one doozy of a sequel set-up punchline.
Dr. John Harvey Kellogg (Anthony Hopkins) is a little too obsessed with health, to the point where everything relates to sex.
In the case of this film we feel as if we're watching a police report come to life, one that relates the sort of pathetic, wretched tale one hears about in the news or from friends, a miserable story of inhumane behavior with tragic results and no happy ending.
Years before he made Everyone Says I Love You, which was also a big 30's Hollywood homage, Purple Rose of Cairo was a nifty take on the separation between fantasy and reality (or as one of my friends calls 'magic realism') and how it relates to the depression and the escapism inherent in those fluffy romantic adventures.
"My heart stopped beating" is the literal translation of the French title ("The Beat My Heart Skipped" sounds more like exhilaration than spiritual stasis to me!) and surely relates to this period,after Tom's mother's death,where Tom's heart is moribund.
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