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White in sentence

4105 examples of White in a sentence

The colors, compared to the earlier black and white, are really used imaginatively here and many of the new gags-like when one of the skeletal band players hits a wrong note constantly or when one loses his head and takes another one's off or when one dances with the other with part of that other gone-are just as funny as the previous short.
What happened to John is unforgivable, not only in the native community, but also in the white community.
Immigrants themselves were heroic figures, fully capable of getting along without having to satisfied what I believer to be a veiled image of "the white man's burden."
This 140-minute, black & white oater is nothing short of brilliant with dynamic action sequences, humorous romantic scenes, and stern dramatic confrontations between our hero and his adversaries.
Shot in primary colors, almost all red, white, blue and yellow, we get a real sense of the life of a boy who is making something from nothing.
The plot was rife with symbolism (ie the white and red roses) and plot twists which wrapped themselves up neatly.
He accused of killing a white tourist in Florida.
I am a white and I was surprised to see how blacks in high police positions treat other blacks.
It was very disappointing to see black and white police stick together when they think they got their man.
It delves into some dark territory but you come out of the tunnel seeing nothing but white light.
He finds a pool of white bubbling water and one of the prisoners dead beside it.
Martin Sheen is just a dumb cluck who decides to challenge Waterston (White Bull) for a gorgeous white horse.
A true lost film that I first encountered, flickering away on my old 19" black and white RCA, when the Million Dollar Movie was still in vogue on Channel 9 in New York City.
Shot on digital in black and white, the film is well directed with production values that belie its shoestring budget.
I feel very strongly that this film was just like Waiting to Exhale with white females in the 1950's.
The white abbot or the priest from the wu dang clan develops new techniques that turn him into iron.
Ironically dressed in white, oozing oily charisma from every rotten pore, and jumping on beautiful women every chance he gets, Kinski's Johnny makes for a fascinatingly creepy and monstrous brute.
Axel finds a place to live and socializes with T.T., his his wife (Dee) and their son's white schoolteacher (Kathleen McGuire).
Imagine the most depressing winter you will never experience: grey instead of white, no snow fights and certainly no wonderlands.
The best thing -- and that's pretty good -- about The Black Castle is that it's a black-and- white Forties' Gothic grabber featuring a murderous mad count which was somehow made in 1952.
It's a shame that most people won't sit through anything black and white anymore because in many respects this earlier production - which doesn't even show up in the IMDb listings when you put "Peter Pan" into the search engine! - is superior to the cutesier color version most people have watched.
Second, nothing is cut and dried, black or white, or so outlandish that you don't believe an image that you see.
Guy Madison leads a band of guardhouse soldiers and misfits to rescue two white women being held by Indians, which essentially all there is to this film.
The rescuers make off with the ladies and are pursued by the Indians until the white men make their stand at an island in a creek bed.
What was the white light, what impact has it had?
The latter chase scenes and escalating fear is well done, as it has the darkness coming alive with itS burly killer/s and you get actor George Kennedy riding his white horse in a slight, but wonderful turn.
It is, however highly unlikely for you to figure any of this out without reading a synopsis first, and it's not especially important to the film that you do, as it's more a surrealistic art-house imagery thing, all in inky, processed black and white.
This film is also about hope and forgiveness, the hope epitomized in the interracial relationship between Binoche's recovering character and the Indian minesweeper (echoed in the Sikh's buddy-buddy relationship with his white coworker who ends up dying nonsensically) and the forgiveness epitomized in the Caravaggio character's first hunt and then forcing out of what he thinks will be the hero's confessions for his war "crimes" (betrayal of country).
Ascent is a great film by any standard, with stunning black and white photography, hypnotic direction, and actors so deep into their roles that you have no sense of them merely giving a performance.
I loved the atmosphere of the movie, which, by its black and white cinematography, suggests us an even more depressed view of the world after the holocaust.
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