Luke's Song Review: The Grand Finale

“Will you shut the fuck up? This place is loud enough without you going on and on,” I yelled. His eyes focused on me for the first time and they softened slightly. I got this funny feeling in the pit of my stomach as his unusually dark eyes stared into mine. I stood, I just couldn't deal with this right now. “Thanks, Zarra, but I need to get away from all this.” I made a beeline for the door.

“Hey, what are you doing.” Chloe said as she walked over to Kara on the track behind the school after school was over.

The music interacts with dialogue in the film; the techno beat is, at times, accompanied by vocals, which correspond with not only what is happening in the scene, but also the internal diegetic dialogue—another important motif.

“I’ve kept Southside from hurting you,” I responded. “Busting you up even further and leaving you a broken mess, or even worse… leaving you with a bullet in your

When they got trapped in the trash contractor and Luke was pulled under the water, he started acting like someone who is experience by after being release he didn’t wait for someone to think of asking R2D2 and C-3P0 for help. The experience of dying can bring different outcomes for everyone, but for Luke “Out of the moment of death comes a new life” (McMillan-Ramirez) because he had the will to live and was willing to command everyone to do something. The part where he finally enters adulthood was when he saw Kenobi died as “There comes a time, however, when the individual has to become self-reliant and not dependent but himself the authority” (Campbell) it was when he truly had to give up his parental figure that he could lean on. The death of Kenobi proves that “The father dies for his sake, freeing Luke's libido; as Ben tells him, "The Force will be with you always” (Gordon), Kenobi died to become one with the force which he would become more powerful and always be with Luke in his time of need. Luke needed to have his own path without the interference of Kenobi because if Kenobi would live the hope of the force wouldn’t be

What do you mean they're here?" She asked frantically, walking forward. "God, the kids!" She started to sprint, but Jackson grabbed her arm.

Luke let his thoughts go with the dancing lights on the water's surface. Lost within himself, his mind flitted back and forth, touching base with various notions at random. He needed time to prepare himself for the encounter, to lose the heaviness that drew his thoughts back the night before, spent struggling to breach Tyrena’s defenses. Ultimately, he’d failed and punished would likely follow. As luck would have it, Luke had managed to capture Wes Janson and Wedge Antilles. Janson was of no use to the young prince, however, Antilles… Luke remembered him. Perhaps when he was younger, he’d seen him around father’s social gatherings, before the war had started, before his father slaughtered a majority of Corellia’s noble families.

“What are we going to do, I mean we have to back and see what that noise was. I’m afraid that instead of creating a shield we have created a weapon”. Anton

He looked over towards the front door and grimaced. "You didn't tell me he was bringing more than just himself." He gave Alex a dirty look.

Ta-Ta-Ta-Taaa. Ta-Ta-Ta-Taaa. The famous motif and most iconic statement from Beethoven’s 5th Symphony, it was viewed as if “fate [was] knocking at the door”. My first experience with classical music was watching the film, Disney’s “Fantasia 2000”, featuring the world-renowned Chicago Symphony Orchestra. I had never heard an orchestra before, but it lured me in like a duck to water. The TV had my undivided attention; I could not look away. I kept watching it over and over again, enjoying the music with the same enthusiasm.

“LIES! She would’ve called from her phone if that was the case! You’re probably tracing the call as we speak so you and your hoodlums can come and abduct me…”

Luke slammed her front door, causing the flowers on each side of it to shake. She was such a bitch. Luke hopped into his car, revved the engine, and started to pull out of her driveway, but then he stopped. Everything he said repeated in his mind, and her face flashed into his head. She was right. He couldn't control who she hung out with. He was just overprotective, and he didn't want to see her get hurt by someone like Ryan-- or someone like himself. Luke knew he most likely ruined everything.

“Well Michael, you’re wrong for various reasons; the cops aren’t coming, and I am not gonna let this girl out. You, however, need to get me the runner before someone actually gets hurt.”

If my character Luke ( Lee Grant) could protest something it would be the awful population police. In my book the population police are exactly what you think they are they control the population. But maybe the rules are a little to strict. You can't have more than three kids. And if you do, if the population police find out you have more they will execute that third child.

The music interacts with dialogue in the film; the techno beat is, at times, accompanied by vocals, which correspond with not only what is happening in the scene, but also the internal diegetic dialogue—another important motif.