Sentences with phrase «characters are in motion»

Ironically, whenever the characters are in motion, this filter makes the hair look very realistic.

X-Men franchise producer Lauren Shuler Donner declared in 2011 that a «total reboot» of the character was in motion, one that would either ignore «X-Men Origins: Wolverine» «or mock it.»

Not exact matches

He went on to say: «The other arts — architecture, painting, vestments, and the arts of movement — each contribute to and support the beauty of the liturgy, but still the art of music is greater even than that of any other art, because it forms a necessary or integral part of the solemn liturgy, because it is so intimately bound to the sacred action, defining and differentiating the various parts in character, motion and importance.»

It is interesting to note that, well before now, certain notable characters who were part of the rebellion against Christian ethics began to see the downside of what they had set in motion.

The game was already in motion, showing the uninitiated what could happen, and introducing novice players not only to the names of the characters but also to their nicknames.

The motion picture industry fails utterly and with almost unexceptional regularity in its stupendous efforts to reproduce segments of the biblical story because it assumes a self - validating character in the divine disclosure and is apparently unable to deal with the admittedly difficult, illusive, and profound factor of interpretation.

Motion is only apparent, and is derivative from shifts in character of actual occasions in the historic route, no one of which really moves.

In the «organic» theory, (i) there is only one type of temporal actual entity; (ii) each such actual entity is extensive; (iii) from the standpoint of any one actual entity, the «given» actual world is a nexus of actual entities, transforming the potentiality of the extensive scheme into a plenum of actual occasions; (iv) in this plenum, motion can not be significantly attributed to any actual occasion; (v) the plenum is continuous in respect to the potentiality from which it arises, but each actual entity is atomic; (vi) the term «actual occasion» is used synonymously with «actual entity»; but chiefly when its character of extensiveness has some direct relevance to the discussion, either extensiveness in the form of temporal extensiveness, that is to say «duration», or extensiveness in the form of spatial extension, or in the more complete signification of spatio - temporal extensivenesIn the «organic» theory, (i) there is only one type of temporal actual entity; (ii) each such actual entity is extensive; (iii) from the standpoint of any one actual entity, the «given» actual world is a nexus of actual entities, transforming the potentiality of the extensive scheme into a plenum of actual occasions; (iv) in this plenum, motion can not be significantly attributed to any actual occasion; (v) the plenum is continuous in respect to the potentiality from which it arises, but each actual entity is atomic; (vi) the term «actual occasion» is used synonymously with «actual entity»; but chiefly when its character of extensiveness has some direct relevance to the discussion, either extensiveness in the form of temporal extensiveness, that is to say «duration», or extensiveness in the form of spatial extension, or in the more complete signification of spatio - temporal extensivenesin this plenum, motion can not be significantly attributed to any actual occasion; (v) the plenum is continuous in respect to the potentiality from which it arises, but each actual entity is atomic; (vi) the term «actual occasion» is used synonymously with «actual entity»; but chiefly when its character of extensiveness has some direct relevance to the discussion, either extensiveness in the form of temporal extensiveness, that is to say «duration», or extensiveness in the form of spatial extension, or in the more complete signification of spatio - temporal extensivenesin respect to the potentiality from which it arises, but each actual entity is atomic; (vi) the term «actual occasion» is used synonymously with «actual entity»; but chiefly when its character of extensiveness has some direct relevance to the discussion, either extensiveness in the form of temporal extensiveness, that is to say «duration», or extensiveness in the form of spatial extension, or in the more complete signification of spatio - temporal extensivenesin the form of temporal extensiveness, that is to say «duration», or extensiveness in the form of spatial extension, or in the more complete signification of spatio - temporal extensivenesin the form of spatial extension, or in the more complete signification of spatio - temporal extensivenesin the more complete signification of spatio - temporal extensiveness.

In their study the researchers showed different characters to test persons and recorded via functional magnetic resonance imaging the brain activity which was set into motion by the process of seeing.

Astronomers studying the motions of galaxies and the character of the cosmic microwave background radiation came to realize in the last century that most of the matter in the universe was not visible.

Not only does he get regular skin checks, but he's involved in a U.S. - based company that makes an affordable children's sunscreen, called Pure Sun Defense, with packaging featuring kids» favorite motion picture cartoon characters.

The film, which is based on a television series (which was itself a spinoff from the Wallace & Gromit franchise), boasts a tremendously appealing stop - motion animation style that's heightened by an assortment of affable characters, and it's worth noting, too, that the movie's total absence of dialogue in no way hinders one's ability to get caught up in the briskly - paced narrative.

Produced by Aardman Studios and DreamWorks, the characters have the same look as the stop - motion clay animals in «Wallace & Gromit,» except this time they're nowhere near as cool, because the visuals are done with software.

But at least I can die knowing that, in the rare occasion that I do ever want to become a masked vigilante, I'll be much better than Defendor, who is the character at focus in Peter Stebbings» latest motion picture.

There are a few beguiling moments in Holy Motors, particularly a martial - arts sequence and an erotic dance while Mr. Oscar is dressed in a motion - capture body suit, but the road between those moments is so strewn with stalled ideas that audiences who care about character and plot are liable to take the exit to a movie that makes sense.

Unfortunately, Lawrence doesn't register as strongly, which partially has to do with her role's malleable particulars (Mystique spends a lot of time being other people) and also her status in the storyline — as both the hunter and the hunted, she spends most of her time in motion and doesn't get too many character moments.

If you've caught any of the media blitz for the film you've seen the episode in which Ferrell's character swings at Galifianakis» and accidentally slugs a baby, but it's still funny to watch the characters» horrified reactions, smartly played in slow motion while we hear «My Country «Tis of Thee.»

It is at least on par with, if not better than, Street Fighter 3: Third Strike in terms of fluidity and motion of characters and moves.

Rampage struggles to maintain the illusion that The Rock isn't interacting with a CGI character brought to life through motion capture and green screen, but it does succeed in making George a fun reflection of Davis» personality (read: rude and crude, but with a heart of gold).

It proves to be one of the more exotic blooms in the Disney hothouse, what with voluptuous flora, hordes of fauna, charming characters and excitingly kinetic animation that gracefully incorporates computer - generated motion.

And there's a hidden triumph in the supporting cast from the always - reliable character actor Bill Camp (Black Mass, Midnight Special), whose spectacular, hideously convincing wipe - out as a guy called Harlan Eustice, in the course of a single night, sets much of the plot in motion.

In the second installment of this motion picture, the lead character of The Bride continues her vengeful ways by searching for, stalking and then ultimately, attempting to kill, all of the ex-partners who tried to kill her while she was pregnant and getting married.

As a plus Pathfinder's sporadic action sequences are spectacularly violent - limbs and heads fly and blood spurts arc gracefully through the air in slow motion as the mighty Vikings bring their axes and swords down upon hapless natives, but when the characters aren't scuffling you'll begin to wonder what happened to the plot, or what's going on inside the characters» heads.

In fact, after two disastrous «Aliens vs. Predator» motion pictures, the heat - sensing thrill was pretty much gutted from the franchise, with any hope for the alien character to reign triumphantly once again squandered on filmmakers incapable of gruesome imagination.

But it's all still very rote, with the characters doing the vary basic motions of a redemption story in which an ass learns how to not be such an ass.

Stewart plays out the film as if it were a traditional «haunted house» film, but because we already know it is about alien life, we merely watch the characters go through predictable motions until the story catches up with what we already surmise, and the only things keeping viewers reeled in are basic questions such as, «why are they doing this?»

Although the Mad Titan Thanos has been ominously lurking in the background of the Marvel Cinematic Universe since Joss Whedon's first Avengers movie, Infinity War will finally move the character into focus and Josh Brolin is charged with bringing the motion - capture figure to life on the big screen, having made brief appearances in previous movies.

In the scenes where the majority of characters were of the motion capture variety, he went for the tracking shot in order to earn style pointIn the scenes where the majority of characters were of the motion capture variety, he went for the tracking shot in order to earn style pointin order to earn style points.

I have no idea but it's a gaping plot - hole that is only used to explain Milla Jovovich's character's later intentions as well as set in motion the ridiculous action - packed finale.

Everything about this film oozes class; the 60's setting is beautifully captured with it's attention to detail and strikingly rich photography by Eduard Grau; the slow motion scenes with overbearing sound effects; the subtle changes of colour saturation providing an excellent technique in developing the mood and feeling of Firth's character and a fitting soundtrack to accompany the lush imagery.

The film may also make you feel a little dizzy, as when the camera is in motion and pans across characters it all grows blurry and may just give you a headache.

Aside from the well - noted fact that more superior long - form drama (and comedy) can be found on television than in cinemas, the two most interesting motion picture experiences I had in 2012 were in galleries: The Clock (Christian Marclay, 2010), a staggering and hypnotic achievement of which I still have some of its 24 hours to catch up with, and two multi-screen installations by Candice Breitz: «Him» and «Her» in which many scenes from the films of Jack Nicholson (in Him) and Meryl Streep (in Her), isolate the actors from their filmic background leaving the actors to speak to and interrogate each other across space and time on many themes of character, identity, success, failure, anger and disappointment.

Even when the films» stories are set in distant lands and deal with ancient empires, her cleanly organized frames (often filled with carefully spaced plants and animals) and characters» lightness of motion make the fantastical always seem within reach.

In his directors note (something I think this movie should make available), Corbet writes that Sweet's character is «somehow to be metaphysically linked to them (the Treaty of Versailles), possessed by the motions of the era.»

Florentine is an action - oriented director; at his best, he does what certain Ringo Lam, Tsui Hark and John Woo movies do, transforming characters into bodies in motion, hurtling at each other through space.

In 2014, Sonic Boom was announced for the Wii U and the Nintendo 3DS, setting the old Sonic Cycle back into motion due to changes in character designs, especially with Knuckles, whose brawn appeared to be more dominant than his brain thanks to steroid usIn 2014, Sonic Boom was announced for the Wii U and the Nintendo 3DS, setting the old Sonic Cycle back into motion due to changes in character designs, especially with Knuckles, whose brawn appeared to be more dominant than his brain thanks to steroid usin character designs, especially with Knuckles, whose brawn appeared to be more dominant than his brain thanks to steroid use.

The storylines of both titles were great, but I just can't stand the notion of seeing static images of the characters in lieu of CGI cutscenes, let alone swaying my hips in front of a broken motion - sensing camera.

EXTRAS: In addition to a trio of production featurettes, there's a Tyson motion comic and some collectible character cards.

But for those of us who only care about boxing when there's a compelling character with a story to be told in a motion picture, we have a new TV spot for Antoine Fuqua's forthcoming boxing drama Southpaw starring Jake Gyllenhaal.

In this atmosphere, Jean Renoir, anticipating war and deeply troubled by the mood he felt around him, thought he might best interpret that state of mind by creating a story in the spirit of French comic theater, from Marivaux to Musset, a tradition in which the force that sets every character in motion is love and the characters have no other occupation to interfere with this pursuiIn this atmosphere, Jean Renoir, anticipating war and deeply troubled by the mood he felt around him, thought he might best interpret that state of mind by creating a story in the spirit of French comic theater, from Marivaux to Musset, a tradition in which the force that sets every character in motion is love and the characters have no other occupation to interfere with this pursuiin the spirit of French comic theater, from Marivaux to Musset, a tradition in which the force that sets every character in motion is love and the characters have no other occupation to interfere with this pursuiin which the force that sets every character in motion is love and the characters have no other occupation to interfere with this pursuiin motion is love and the characters have no other occupation to interfere with this pursuit.

The flabby screenplay moves at half - speed while undeveloped characters slog through predictable motions and forced quirkiness, all of which is trapped in an erratic tone that swerves from kookiness to uncomfortably somber.

It's not only the nearly constant motion of its characters, who run and leap and drive in between the few lulls in which the plot unfolds, but also the way director Camille Delamarre presents that action.

I was reminded of Jack Fisk's character in «Eraserhead,» the pasty - looking guy who pulls the lever and sets the movie's whole universe into motion.

Scott wants to stick with a plotline that is barely even there, while McCarthy likes to explore his morally ambiguous characters with a depth that most directors would find too ponderous and verbose to wrap a motion picture around, and certainly Scott exhibits little patience in the more talk - heavy moments that emerge, hastily jumping to the comfort of more fluid endeavors and exhilarating shots of the scenic desert landscape.

Sato was so particular in how he wanted each character to look that he would not resort to an easier and less polished method of capturing character facial animation through means of motion capture.

Sure, the character models are hulking monsters compared to their original opposites, but they have now gone 3D and look beautiful in motion.

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 heroeIn 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 heroein 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 heroein 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.

Another wonderful character is brought to the screen by Barkhad Abdi, who with this film turns in his first ever performance in a motion picture.

In a time when films are loaded with out - of - this - world imagery, it's both shocking and understandable that it takes stop - motion characters to reflect our lives back at us so well.

Regardless, the effect of limiting the film to the Dunst - Hartnett storyline is twofold: first, we get to enjoy many many many shots of pretty young actors being pretty, walking in slow motion, rolling around in the grass, etc; second, none of the other characters ever mean anything to us.