Sentences with phrase «between story scenes»

Not exact matches

Aside from shortening the time between unlocks, the patch also added a story to the «Making a Course» scene and addressed some bugs.

The only difference between my Christmas celebration and a traditional christian celebration is that we don't have a nativity scene, and we watch The Nightmare Before Christmas, instead of The Greatest Story Ever Told.

Within the Protestant ecclesiastical scene in California there are not many contrasts more colorful than that between Berkeley and Orange County: the University of California and Disneyland, an adult class using Bread for the World material and one deep into the Bethel Bible Series, a Georgian church building hosting the Earl Lectures (Tillich, Niebuhr, Bennett, Marty, Lehman et al.) and a 14 - story Tower of Hope hosting preachers and teachers of «possibility thinking.»

As for specialties in the individual narratives, Matthew alone records the sealing and guarding of the tomb and he alone introduces an earthquake; Luke expands the story of the revelation on the road to Emmaus, which Mark's addition suggests, and introduces the meal of broiled fish partaken of by Jesus to prove the reality of his resuscitation; John alone, at the end of the century, narrates at length the conversation between Jesus and Mary Magdalene and records the scene between Jesus and Thomas and the appearance by the Sea of Galilee.

Given the vast and obvious disparity between the gang rape scene of Genesis 19 and those gay, lesbian, and bisexual people seeking to enter into committed, sacrificial relationships with one another, it still surprises me that the story of Sodom and Gomorrah is used to condemn same - sex orientation and relationships.

Beatriz's back - story unfolds in between scenes in which she all but recoils, appalled at what these people are celebrating, at their lifestyles and at the amorality of their choices.

Unfortunately, those ties are sometimes shaky, and a good portion of Les Misérables feels disjointed, as though there's no flow between scenes and moments and characters and stories.

On the other hand, the scenes between Clooney and Thekla Reuten as they're planning her mission work far better towards setting up the story's conclusion.

There's a tender drama about reconciliation, growing old, and facing death wrestling the more commercial choir - contest story - line with the early scenes between Stamp and an unrecognizable Redgrave resembling a gentler take on «Amour».

The show's many battle scenes play out in bloody, muddy confusion that's nonetheless rendered with reliable clarity of storytelling, and, while Uhtred's position as a hero torn between two worlds is central, it's also not elevated much above the larger context of the story the show tells so consistently well.

A series of disconnected scenes alternating between two story lines, neither of which is cogent or concluded.

And Naomie Harris» eventual sidekick Kate has an emotional back story that's designed to make her more accessible but really just falls flat — a scene between the two when they share their pasts, including when Davis found George and saved him from poachers, is embarrassingly mishandled.

Outside of Vinson and some choice scoring / music selection that, along with its story, evokes some of the memorable 1970s work from John Carpenter (Assault on Precinct 13 and The Fog come to mind), You're Next is a fairly dreadful choice for a scare flick, with ineffective acting choices, a laughable premise, and no real surprises offered to anyone who actually pays attention to the poorly written dialogue that occurs between scenes of violence.

Condon also likes to punctuate scenes with shortcut symbolism by having characters wear t - shirts with various icons or having walls painted with various iconic figures in history (Che Guevara, Albert Einstein) as a way to draw parallels between Assange's story and the fight for information throughout history.

There's no breathing room between scenes, no respite where we can assess story or character.

Yet what's on view is rousing material, with not only the action scenes delivering the goods but also the numerous sequences focusing on Roman politicizing as well as the love story between Spartacus and the strong - willed servant Varinia (Jean Simmons).

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.

In the early going, the story alternates between scenes of wayward kids partying and moments in which a friend knocks on Sara's door and blankly informs her that her latest make - out partner has hung himself; by the end, it's just one scene after another of people screaming at each other.

With stylistic quirks, enough winks to resist pretension (a scene where Mara devours a pie in one five - minute, uncut take is both tragic and cheeky), and a soundscape culled from the space - time continuum, A Ghost Story connects the dots between romantic love, the places we call home, and time — a ghost's worst enemy.

«There are no dramatic new features,» admitted, Ebihara, «but there's a reliable sort of fun here, like there always is, between the new action scenes and the charming story.

If you watch Jackie Chan's (Crime Story, City Hunter) films only for the two or three lengthy, well - choreographed fight scenes, and are able to sit patiently through ninety more minutes of bad drama in between, perhaps you will find Thunderbolt to be worthwhile in the end.

Here, a meeting between Carol and Therese in a restaurant is rudely interrupted by a loud friend, prompting Carol's departure; the film then casts back to the start of their story, returning in due course to this opening scene and what appears to be the end.

Once again, I'm split between loving everything about the Aragorn storyline (the ghost army, the huge final battle scene, the resolution of the Liv Tyler issues) and getting really annoyed with the Frodo story (more Sean Astin speechifying, leaving the Shire untouched, the interminable ending).

Another style over substance Hong Kong action film that has some pretty exciting fight scenes, but also some very flimsy and annoyingly romanticized back story to fill in between them.

Not only because I could walk around set without any sort of boundaries, but I got to hang out with Jake Gyllenhaal, Michael Pena, and producer John Lesher between takes and hear them tell great behind - the - scenes stories.

In fact, the only real story in story mode is in the prerendered movies between chapters, and while they're bordering on well made (the modeling and art style are high quality, but apparently the motion - capture budget was used only for the game itself, as the animation is done by hand and sometimes isn't that good), they are mostly just a series of scenes that show the next boss character preparing to try to destroy the heroes.

As expected from a Ridley Scott - directed sword / sandals epic based on the story of Moses leading 600,000 slaves out of Egypt, the trailer and footage teased killer action sequences and battle scenes, a cast of thousands which includes Sigourney Weaver, Ben Kingley, Joel Edgerton, Aaron Paul, John Turturro and some of history's earliest family drama between Moses and Rhamses (Edgerton).

Director Francis Lawrence treats the central story as a passing phase between the grandeur of the circus and the squalor behind the scenes, and Pattinson and Witherspoon come across as less star - crossed than light - years - removed from each other.

The widely accepted story is that the debacle stems from a fallout between Kojima and a senior executive, which is certainly what we've heard from behind the scenes.

Hank Williams's story is chock - full of heartache and drama, and Tom throws himself right in the deep end — the scenes between Hiddleston and his temperamental screen spouse Elizabeth Olsen are undeniably Oscar - worthy.

There is some actual meat to the scenes between the two, as, from his professor, the egotistical, young «smart aleck» learns about the balance of the author's voice with an actual story, the humility of rejection, and that being a writer means a devotion that doesn't always result in success.

In addition to the eerie apparitions, the story, based on a Korean horror film, includes scenes of intoxicated teens and the depiction of sexual sounds and activities between teen and adult couples.

Purportedly a heist film — we know almost immediately that the story is headed in this direction — the movie surprisingly has most of its dramatic tension in the first half, during the scenes between Gal and Logan.

Since she first appeared as Nina in Goran Dukić's Wristcutters: A Love Story (2006), Seimetz has been active in the independent film scene in many capacities — as a collaborator to Joe Swanberg (which involves wearing many hats), (14) a producer (for Barry Jenkins's elegant and sensitive Medicine for Melancholy [2008], among others) and an actress for edgy, polyvalent directors who often blur the boundary between acting, directing, writing and crewing: Jay Keitel (also the DP for Sun Don't Shine), Lawrence Michael Levine, Lena Dunham, Kentucker Audley, David Robert Mitchell, Adam Wingard, Cherie Saulter, Josh Slates, Dan Bush and Tomer Almagor.

There are two deleted scenes, one featuring a conversation between Katniss (Jennifer Lawrence) and Haymitch (Woody Harrelson) and another revealing a never - before - seen moment with Katniss and Effie (Elizabeth Banks), and while both are perfectly fine scenes, it's clear that they weren't necessarily vital to the story.

It's the scenes between these two where the story finds it's heart and best storytelling tactics.

It's almost as if the uncomfortable dynamics between Anastasia and Christian were simply misguided attempts to add some drama to a story that really only cared about having some risqué sex scenes.

From scenes filled with raging fires to quieter, more dramatic moments between the men and their families, the story is made even more powerful and immersive in Dolby Vision ™ and Dolby Atmos ®.

The current game is 18 stages filled with unique enemies and environments and fully animated cut scenes to tell the story between each stage.

«There weren't that many places that they could go to hear more about the behind - the - scenes stories,» says Scheer, «to fill in some blanks,» mostly with the relationship between Wiseau and Sestero.

The scene is an example of how the director uses an image and prolonged shot duration to impose a moral compass onto the story, reflecting the divide between a slave's self - preservation or the risk of selflessness and aiding others.

Cuts between scenes are jagged and jarring, confusing each shot's connection and leaving the story and characters incomprehensible to follow.

The first sex scene in which both participants are undressed involves two women; only toward the end of the story, with the arrival of a young male specimen named Ivan who rolls around in bed with O to the accompaniment of rat - a-tat hi - hat cymbal and electric guitar, does anything close to parity between male and female flesh exist.

Their story picks up where we last saw Thor — zipping between dimensions, trying to make sense of his weird visions (remember that really strange pool scene in Avengers: Age of Ultron?)

I would be shocked to learn this movie had been story - boarded, because it felt like the last half hour of an action - light movie is just one long, repetitive chase - fight scene between Reacher and the Hunter.

They're saddled with the thankless job of dumping story details in between scenes, speaking to us about the rivalry from a couch in flash - forwards to 1978 interviews.

In a few scenes, it appears the story might cave to include a romantic entanglement between Banner and Lambert.

Bonus features on the 2 - disc Blu - ray / DVD Combo Pack include profiles of Katharine Graham and Ben Bradlee, and featurettes about how the creative team came together, recreation of the era during which the story takes place, behind - the - scenes look at the set, and a tribute to the 44 - year collaboration between director Steven Spielberg and composer John Williams.

(The story arc between Tadek and Kasia stretches credulity and results in some of the more off - putting scenes in a film that's never as involving as it should be.)

The scenes and eventual developing love story between Catrin and Tom is both predictable and the films least interesting aspect.