Sentences with phrase «between flashbacks»

The beginning of Lara's journey is split between flashbacks, before residing all activity to the harsh winter wonderland of Siberia.

But between flashbacks to previous traumas and a general sense of disorientation, Ray can't help but wonder whether his damaged psyche is making him misread other men's intentions.

Expertly alternating between flashbacks and the present day, The Chalk Man is the very best kind of suspense novel, one where every character is wonderfully fleshed out and compelling, where every mystery has a satisfying payoff, and where the twists will shock even the savviest reader.

In another, he explains to a nurse that being in a home reminds Jorge of being in prison — something Courtenay has already pointed out between flashbacks.

The movie jumped back and forth between flashbacks and perspectives to really show you how a single event can affect different people in radically different ways.

It helps, in a big way, to make the MCU feel more complete, especially seeing events like a young Kingpin killing his father during Daredevil season 1 occurring between a flashback episode of Agents of S.H.I.E.L.D. and Peter Quill's conception from Guardians of the Galaxy Vol.

Not exact matches

The study looked back through 14 million newspaper articles between 1900 - 2016, and found trauma - related symptoms such as flashbacks, trouble sleeping, and severe anxiety were called different names after World War I, World War II, Vietnam, and the Gulf War.

In a first - of - its - kind effort to illuminate the biochemical impact of trauma, researchers at NYU Langone Medical Center have discovered a connection between the quantity of cannabinoid receptors in the human brain, known as CB1 receptors, and post-traumatic stress disorder, the chronic, disabling condition that can plague trauma victims with flashbacks, nightmares and emotional instability.

The last 45 minutes are fully realized: the blitzkrieglike destruction of Hogwarts; the revelatory «pensieve» flashback showing Snape's tortured past; and the final duel between Harry and his nemesis, light on suspense but rich in mythic splendor.

Finally, the series has to ignore side trips, whole chapters of Rowling exposition and flashbacks — deepest regrets to the sad story of the young Dumbledore siblings; we miss you — to concentrate on the battle between 17 - year - old Harry and the towering, snake - faced villain who killed his parents and threatens to rule the wizarding world.

That «The Keeper» was made by a novice is evident in the visible seams between the present - day narrative and the flashbacks; the whole thing plays like a loopy amalgam of stilted costume picture and after - school special.

The film begins in - flashback to a cult - compound that looks a disturbingly - similar mix between the Branch Davidian one in Waco, and Spahn Ranch in Death Valley (once - populated by the Manson Family).

The movie could have been — should have been — framed in a long fight scene between the two of them, flashbacks playing through.

Stahl narrates his life story to her from a cheap motel room, and the film alternates between their growing romance and flashbacks from his dismal past.

Baumbach uses flashbacks showing the development of the senior - year relationship between Grover and Jane (Olivia D'Abo) to form a bittersweet emotional core.

Though the movie has more than its share of memorable scenes (from the brainwashing flashbacks, to Frank Sinatra doing karate, to Angela Lansbury's third - act soliloquy), there's too much dead space in between, including a superfluous subplot with Janet Leigh (who curiously gets third billing) that could have been cut entirely.

As Jane and Dan fortify the homestead, a series of flashbacks fill in the soapy details of relationships between Jane, Bill, Dan, and Bishop.

The film begins at this point, with Long's career related in flashback as he hovers between life and death in a hospital bed.

I noticed, between eyeblinks, Pete Postlethwaite, Liam Cunningham, Polly Walker, Danny Huston, Alexander Siddig, Nicholas Hoult (A Serious Man), Jane March (The Lover), and Elizabeth McGovern — who also appears, in flashbacks, as Hit Girl's mom in Kick - Ass.

The narrative framework for the story is clunkily handled, giving the audience a barrage of exposition, and the switches between the courtroom scenes and the flashbacks that make up the bulk of the film are also slightly heavy - handed.

That's certainly not the fault of the two young actors playing Jeannette as a child, because the main reason the movie work is the groundwork laid by Chandler Head and Ella Anderson in the film's flashbacks, which depict a wonderful relationship between father and daughter that's simply heartbreaking to watch deteriorate.

The challenges in adapting a novel about the romance between two people where one of them is dead from the outset is obvious, but the film never skirts this fact, instead embracing it and using flashbacks and Justin's memories as a recurring them to show the evolving love affair between him and Tessa.

Flashback to Domino as a little girl then forward to an interrogation conducted by Lucy Liu (the lighting is so ill - advised that nearly every close - up is a death's head of hollow eye sockets and weeping cheek bones) in what appears to be a bank vault, then to some point in - between as someone's arm is put up for collateral in a trailer park negotiation, then to a mob boss talking on a cell phone from the bottom of his swimming pool, and finally to Domino's lazy hardboiled voiceover — which brings the little girl back to punk rock.

Structure-wise, Leitch uses a debriefing between Lorraine and her senior Eric Gray (Toby Jones)-- together with extraneous Chief C (James Faulkner) and CIA representative Emmett Kurzfeld (John Goodman)-- as the framing device to tell the story in flashbacks.

The Frodo / Sam / Gollum story not nearly as involving as the visceral bombast of the Helm's Deep line (itself softened by a pair of sickly flashbacks meant to flesh out the love affair between Aragorn and the elf Arwen (Liv Tyler)-RRB- nor the awe and humour of the Ent storyline, a certain impatience manifests itself as an urge to indulge in frustrated, mocking laughter.

A sequence between him and Parks in a flashback is so disgustingly unnecessary, boring and annoying that it forces you to zone out and refuse to listen.

Flashbacks to the three months that Una and Ray had their relationship — an addition to the stage version — underscore the age gulf between them.

What follows is a seemingly endless string of expository dialogue exchanges and flashbacks (including the first instance of a slap across the face eventually leading to a deeper understanding between two characters — after Jared forces himself on Melanie during their first meeting — and an awkward scene that attempts to romanticize Jared's insistence that he wouldn't make Melanie feel entitled to have sex with him even if they were the last man and woman on Earth).

But we can assume he won't just be lying in state, and there will be flashbacks to happier days for the couple in between the First Lady trying to deal with the aftermath of her husband's death.

The second chapter in Jackson's expanded The Hobbit trilogy gets off to a strong start, as the film opens with a flashback to The Prancing Pony that shows us the first meeting between Gandalf (Ian McKellen) and Thorin (Richard Armitage).

The film's animation alternates between black - and - white flashbacks and present - day color sequences to recreate some of Van Gogh's most famous canvases, going so far as to emulate the Dutch painter's groundbreaking thick - brushstroke impasto style.

Framed by a conversation between two co-workers in a mysterious outpost, «White Christmas» strings together three flashbacks with seemingly tenuous connections.

It needs more, so the main narrative is a fusion of a mystery surrounding the disappearance of local girl Elizabeth (Jessica Brown Findlay), who only ever appears in flashbacks, and a romance that sees Juliet having to choose between two men.

Una preserves that central setting, but it also nervously, detrimentally abandons it at every opportunity, breaking up the long - form conversation with flashbacks to the pair's illegal encounters (some staged through the increasingly cliché drop - the - soundtrack - out subliminal blips), relocations throughout the building (and, eventually, outside of it), and a subplot involving layoffs at Ray's job and a co-worker (Riz Ahmed) who gets wedged between the two.

The remaining half is split equally between Susan's languorous present, and flashbacks to her optimistic courtship with her first husband and youthful writer, Edward; also played by Gyllenhaal.

The flashbacks never have as much impact as the present - day material and the relationship between the two timelines sometimes seems tenuous or confusing.

Trier gives us a plot and storyline that teases with flashbacks and ethereal connections between Anja and Thelma.

Woven in between this seemingly random imagery are flitting flashbacks that take us into Joe's head — some of which are explained later in the film, others of which are left to linger, horribly, at the edge of our imagination.

Before such revelations can materialize, The Terror establishes the primary, thorny relationship between confident and upbeat Franklin (Ciaran Hinds) and the stout but alcoholic Crozier (Jared Harris), the latter of whom embarks on this undertaking after — per flashbacks — his attempts to marry Franklin's daughter Sophie (Sian Brooke) are shot down by both Franklin and his wife Lady Jane (Greta Scacchi).

The director um diddle diddles between the two, with Thomas Newman's score linking the flashbacks with a delicate echo of Chim Chim Cher - ee and Feed The Birds.

The young actors who play Paxton's sons in the flashback portions of the film deserve much of the praise, with Matt O'Leary, in particular, being a sympathetic protagonist as young Fenton, a young boy torn between his love for his father and the moral duty to stop his murderous ambitions.

Though the flashback prison scene ends with a painful parting between Grant and his mother Wanda (flawlessly played by Octavia Spencer), the Oscar we see on this last day is a dutiful son and brother, shopping for food for his mother's birthday party and gently pranking his sister.

Crosscutting between his protagonists in precise, well - targeted editorial volleys, with occasional flashbacks to their respective troubled childhoods, Metz shows how the cool, calculating Swedish stud and the foul - mouthed American hothead may have had more inner demons in common than you might expect.

Although buoyed by fine acting (even from the supporting cast), The Light Between Oceans drags on too long with a clumsily handled backstory flashback (concerning the girl's birth family) and a downward spiral toward soap opera melodrama as nature struggles with nurture once the biological mother arrives.

Things only get stranger as we ping pong between her story in the present, which finds her mentoring a group of rowdy teenagers, and flashbacks to her time away, which involves an underground prison run by Jason Isaacs's evil Dr. Hap.

However, between these two flashbacks we see a present day scene where they are staying overnight in a gaudy themed hotel room and Dean is desperately trying to connect with Cindy by having sex with her.

A car accident leaves Mia, her bohemian parents (Mireille Enos and Joshua Leonard) and younger brother (Jakob Davies) comatose, and most of If I Stay alternates between an out - of - body Mia racing around the hospital and flashbacks to her time with Adam, a stud in skinny jeans, who, on the night of her deflowering, tells her to «think of it like we're playing music together.»

The series ends in a long collage of flashbacks and still artwork, accompanied by a protracted internal dialogue between Shinji and the other characters as he conceives them.

The story is created by using interviews and flashback storytelling which creates a fun and exciting back and forth between the audience and the characters.

The entanglement between these seven characters is recounted in flashback as Isabella is interviewed by a jaded Hollywood reporter (Illeana Douglas), so the film has a rather episodic structure as it traces each slapstick encounter between these people.