Sentence examples for surface resemblances from inspiring English sources

There are, however, a few surface resemblances to Leone's westerns.

Because already an odd note in Gina's narrative voice hints that, despite the surface resemblances, the world she inhabits is fundamentally unlike that of Trevor and O'Brien, whose characters, however trapped by circumstance and led astray by passion, tend to be good at heart.

The strength of these analogies is based, to a considerable degree, on surface resemblances between the two artifacts, regardless of whether these resemblances are known to participate in elaborate relational networks.

Instead of fighting, or collapsing, he cobbled a plan of his own that had a surface resemblance to the original but eliminated the things his base most disliked.

The one who came closest was Senator John McCain, to whom Mr. Hatch's voting record and "maverick" reputation bore some surface resemblance.

Yet Roosevelt's traditional enemies would have found much to applaud in statements like: "The Nazi recovery program organized the economy in ways that bore a clear surface resemblance to the early New Deal".

But if Harrison's stories of wrecked marriages, closet vices and family feuds give it a surface resemblance to Peyton Place, it also has a fair amount in common with the blasted heath of "King Lear".

Along with old color home movies of the Springsteen family, they give "The Promise" a surface resemblance to Bruce Weber's great musical documentary "Let's Get Lost," about the trumpeter Chet Baker.

But if Harrison's stories of wrecked marriages, closet vices and family feuds give it a surface resemblance to Peyton Place, it also has a fair amount in common with the blasted heath of "King Lear" and the arid fields of Samuel Beckett's tramps.

With its deliberate clumsiness, its seemingly random juxtapositions and a handmade look achieved through slavish attention to film stock, lighting, fashions and furnishings, Frankie Latina's "Modus Operandi" bears a greater surface resemblance to the 1960s and '70s genre films to which it pays homage than Quentin Tarantino and Robert Rodriguez's "Grindhouse" did.

What he showed of "Nice Girls Don't Stay for Breakfast" (the title comes from a smoky 1960s ballad recorded by Julie London) certainly bore at least a surface resemblance to "Let's Get Lost," with its sometimes grainy black and white cinematography and its juxtaposition of the aging but still magnetic Mitchum with images of the young, beautiful, hypnotic screen star.