Somehow
in sentence
1958 examples of Somehow in a sentence
One of those things was that he loved westerns,and watching Bonanza every Sunday evening was an absolute ritual for him.I,myself, remember the tail end of the series' run,having been 8 years old when the show ceased production in 1973.Watching this show over the years
somehow
makes me closer to my long ago lost father.It has all the right elements to make a show successful;laughter,tears,edge of your seat suspense,and it even angered you at times.My most vivid memory of the show's original run,came shortly after the death of our beloved "Hoss" Cartwright,Dan Blocker.One particular episode,and the end of the closing credits, flashed a picture of Blocker,and faded to black,and I can also recall my oldest sister with a tear in her eye at the sight of this.I can remember this as though it were yesterday.On behalf of my late father, who is not here to say so himself,we love Bonanza.Long live the Cartwrights.
Probably 3/4 of this has no theme, but
somehow
I think it all would have been approved by Sterling's crew.
Somehow
I was made to actually root for the Iranians to win the game played in the movie even though I don't know anything about soccer and am not a fan.
It's style is the stuff of a brief and
somehow
gloriously exciting moment in our growing up days.
He is an bank teller when the film opens, but he
somehow
wangles an invitation to a sporting club for the well-to-do.
The movie
somehow
represented some part of me and answered some of my questions.
But somehow, it did not ruin the movie for me.
Somehow, this time the story turns the other way round: Mike fights to save his life and his only remaining son, because the rest of his family was killed due to dirty game of his own boss.
But it seems to have a mind of its own, for two very similar reasons: it gets back to its rightful owner in the end, even though that throughout the rest of the picture, its unthoughtful "owners" do their best to make sure it does not, and it never seems to be content until it gets back to its original owner, so, coincidentally, the unthoughtful "owners" always seem to lose it
somehow
or get killed trying to protect and keep it, until it gets back to James Stewart, then it is "content".
All the cowboy heroes of Western lore seem to be in there
somehow
except for Jesse James.
Somehow
largely ignored by critics as he couldn't finish it himself and as the movie wasn't co-signed by Preminger who he did most of the staging...
basically, the plot revolves around a serial killer being
somehow
turned into a snowman through some B-movie chemical accident.
The overt minimalism is slightly less pronounced here than in their work, although it still completely fits that style (the camera never moves even once), and
somehow
I found the film less self-consciously "slow" than Tsai Ming-Liang or Hou Hsiao-hsien, which I think is part of the reason I enjoyed it more.
I felt like the film was also
somehow
more "complete" and less open-ended (just barely) than some of their work, although that's not to say it had much of anything resembling a forward-moving plot.
I've watched it a couple of times on DVD and already i see the film as an old mate that will stay forever as part of my collection (how can i like this film and the Dambusters - doesn't seem right somehow) I certainly edge towards the second half of this film and i think the social interacting scenes with the locals are brilliantly done.
We've seen many elements of this story before(the locked room that no one enters, the fog, the naive outsider who ignores the locals' warnings) but the director
somehow
manages to combine them all into a completely new-seeming and compelling ghost story.
It
somehow
leaves you wanting something, you want more.
The ending fight scenes are certainly good but seem muffled and
somehow
you expected more.
When I think about this movie, all the adjectives that come to mind
somehow
relate to the physical appreciation of the world.
A shift in outlook is neccesary to enjoy modern British films, one that
somehow
allows them to be seen in their own right and for their own qualities rather than by the criteria that American films are judged.
I've seen a slew of "80s rocker horrors" over the years, from rubbish like "Terror on Tour" to ridiculously fun gems like "Slumber Party Massacre 2.
" Somehow
I managed to keep putting this one off, which is strange because it's probably the most popular and well received one.
Fassbinder's most lavish production sacrifices little of his talent for identifying and deconstructing a locus of suffering in long, mobile takes that
somehow
also act as social encapsulations; here, it's much more overt, since the story takes place in war-torn Germany at the end of WWII, and the central character is a woman (Hanna Schygulla as Maria) who capitalizes on vulnerabilities (both economic and gender-related) to catapult herself up the ladder of a prominent textile corp.
This could have been a very good film but
somehow
it missed the way, with too many unanswered questions.
This musical is decidedly mixed, and none of the elements really fit together, but it
somehow
manages to be mostly enjoyable.
The extremely negative reviews (name throwing at the screenplay/playwright, associating this
somehow
with extremely negative comments about 'Angles in America', etc. etc.) object to the movie being too preachy about Germany in WWII.
Girlfight is like your grandmother's cooking: same old recipe you've tried a million times before, yet
somehow
transformed into something fresh and new.
Michael Winner has admitted many times that he's not the best director of all time, and that does shine through on a number of occasions with this film; but it has to be said that the film works in spite of it's uninspired direction, and the fact that Winner has
somehow
managed to round up a simply amazing cast of talent more than makes up for it.
Though the sailors may complain in chorus about the monotony of the ocean, it seems that their oceanic duties are completely non-existent, and
somehow
Fred Astaire finds enough free time during the day to offer dancing classes to a fleet of would-be romantics.
Polanski is very good as the timid, deranged resident who, somehow, attracts the ever illustrious Isabelle Adjani.
A bit slow
(somehow
like a Sofia Coppola movie) but still a very captivating film about the discovery of sexuality by three teenage girls.
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