Sentence examples for cheek movement from inspiring English sources

Exact(1)

The truth is, I don't understand the ass cheek movement, and by the time I succumb to the peer pressure and start preparing by squeezing my butt cheeks together while in line at Target, the kids will move on to showing off some other horrifying part of their body in the name of fashion.

Similar(58)

This study quantified lip, eye and cheek movements during the production of a Duchenne smile involving movement of lips and tissues surrounding the eyes.

His pop-inflected, tongue-in-cheek movement style has received mixed reviews; not so the response to his game.

Each actor produced several instances of six affective facial expressions (surprise, fear, sadness, disgust, anger and happiness) and a number of communicative and meaningless facial gestures (lip, cheek and eye movements).

And when the fodder of hyperbolic rhetoric starts again -- and it will -- we should rise above the unproductive volleying, turn the other cheek, and keep the movement to preserve human dignity for all people, even those who we disagree with, going forward.

The exaggerated eye, eyebrow, cheek, mouth, and chin movements through which the Indian dancer expresses a broad gamut of emotions are nowhere to be seen.

For Combs, who heads the slightly tongue-in-cheek Ban Comic Sans movement with her husband Dave, every use is a misuse.

Take the creature that crawls out of Alice's brain, which Stevenson refers to as "Father Time," for instance: It certainly bears a striking resemblance to Eraserhead's Lady in the Radiator, with her swollen papier-mâché cheeks and jerky movements.

But unlike everyone else, he records the speech, which is then issued one sentence at a time by another movement of his cheek.

The Parisian's life is grudgingly run for him by a dour maid, played by Frances de la Tour, capable of dissolving an audience into laughter with the movement of a cheek muscle.

Where his colleagues focused on the "extremes", the beginning or end of an action, he worked like an "in-betweener", filling in with his quick, clear lines the smallest progressions of movement in a cheek, a hand or a leg, finding and sustaining the inner rhythm of the character.The trouble with nosesWhat mattered for him was not movement, but the emotions behind it.

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