Sentences with phrase «escape a sequence of»

Using the vehicle's features and technology, the teams had 60 minutes to solve puzzles in order to escape a sequence of rooms.

Not exact matches

While he was able to escape unscathed, it didn't prevent the cameras picking up an hilarious sequence of events.

@Erin — we used the process outlined in «Toilet Training in Less Than One Day» (the authors escape me — both PhD behavioral psychologists) to introduce the concepts & reinforce the expected sequence of events.

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We are now focusing on the significant proportion of mutations that escape detection by exome sequencing to further understand the nature of these mutations and to improve computational approaches mutation discovery.

The scientists performed a comprehensive analysis of the genetic sequences of the resistant HIV viruses to investigate the dynamics and mechanisms HIV uses to escape from the antibody.

She says this may be partially accounted for by the existence of regulatory mutations that, residing outside of protein - coding regions, escape detection by exome sequencing.

To better understand the species» spread, Lyko's team sequenced the genomes of four other marbled crayfish, including from populations that have escaped from aquariums and colonized German lakes, and an individual from a market in Madagascar.

«I may not be able to soar through a sequence of handstand variations or pounce on the ability to escape a BJJ arm bar, but I'm still here.»

By diverting the story into a seemingly minor «cave escape» sequence, it surprisingly delivers plenty of emotions and ends up becoming quite an important episode in the scheme of things.

It makes the viewer willing to excuse the film's flights of fancy, like a fiery action sequence in a hidden room where escape follows a familiar movie formula, or a denouement that feels a bit padded.

The most apparent of these is a seemingly throw - away sequence: after escaping from the Crown Pointe jail, Dillinger and his pals sit at a red traffic light in the stolen car in plain view of everyone in town, including law enforcement officials.

Without much footage of Lemkin during this period of unrest, Belzberg instead uses an animated forest sequence (created in part by the animation team of Molly Schwartz, Dana Schechter, Garry Waller and Eyal Ohana) to illustrate the displaced feeling of those like him escaping danger.

While its Deadpool gets decapitated, his disembodied noggin escapes to Marvel's mainstream universe, and through a convoluted sequence of events ends up joining Wade's Deadpool Corps.

The goblin escape is the worst example of this, with one part of the sequence so utterly absurd as to be laughable.

The following escape sequence was a neat and unexpected twist that resulted in me losing several of my power - ups along the way when I was thrown against a wall, and eventually, I came face - to - face with Meta Ridley for the first time.

But, it does set up the explosive escape from terrorist captivity, the still - impressive bridge detonation sequence, and, of course, this:

Ready Player One Rated PG - 13 for sequences of sci - fi action violence, bloody images, some suggestive material, partial nudity and language Rotten Tomatoes Score: 76 % In Theaters Based on the best - selling novel by Ernest Cline (and one of my favorite books in recent memory) Ready Player One explores a futuristic world where life in the real world is quite terrible, but people can escape into a virtual reality program called the OASIS, where they can be anyone and do anything.

Earlier scenes feature whales flying through the clouds and into the sea, which becomes intertwined with the reflection of the sky in the water, and the climax is impressive action sequence, featuring the realm's inhabitants using their assorted magical powers to escape a giant tidal wave.

It's not only one of the film's funniest sequences, it's also a good indication of how much lighter this movie is compared to Harold & Kumar Escape From Guantanamo Bay.

Anyway, the scientist starts to investigate and then all hell breaks loose and it's a pretty fast - paced series of chases, escapes, and kinetic action sequences for the next (appreciably well - paced) 90 - some minutes.

In a fascinating sequence, Tavernier looks at the use of music across a number of films, including Robert Bresson's A Man Escaped and Louis Malle's Elevator to the Gallows, to note how his own edification as a filmmaker was informed by realizing that classical music and jazz could both be inventively used in the making of a contemporary film.

Scaling down a wall to escape from Berlin officers who were targeting her, and shooting and throwing punches at rogue assassins who were pursuing her and Spyglass throughout a deteriorating building, were just some of the brazen and bold sequences that Theron effortlessly embraced during filming.

Each step in their not - so elaborate escape plan is told via a special effects heavy fantasy sequence set to loud rock music covers of over-familiar songs in which Baby Doll imagines herself to be a machinegun - toting sex object inspired by computer games and anime.

There is also some great fight choreography on - hand throughout the movie, especially during the escape and final showdown, granted much of it looks like a video game, but the character animation is all motion - captured, and Liebesman stages these sequence well.

Though a late sequence with the new Barbara strolling away from the carnage in the only escape strategy that makes sense («They're so slow, we can just walk away») has some of the same power as she's allowed time enough to consider the indignity of the zombies» half - life, it's a pity these moments appear to be accidental, ancillary to Savini's more comfortable role as make - up designer and more prurient desire to sit back and watch the carnage.

The latter quality is especially haunting during a sequence in which Mikael (who has escaped a labor camp by means of sweating dynamite and a fellow prisoner with nothing for which to live) catches a ride on a passing train.

The only thing they're playing is monkey - turd insane in a film whose premise encompasses a face - transplant that transforms a noble FBI agent into a psychotic terrorist - for - hire (and vice versa), not to mention a gun battle set to «Somewhere Over the Rainbow» and an escape sequence that hinges on the visual gag of our hero repeatedly losing his shoes.

Lynch transfers his own mercurial consciousness to his characters, and his two best films are about being trapped and being vulnerable, though each one has happy intervals of escape, all conceived in musical terms — a song about heaven in Eraserhead and the magnificent celebratory sequence behind the final credits of Inland Empire, a Felliniesque music video staged around Nina Simone's «Sinnerman.»

The editing and sound is too much of an onslaught during the escape sequence.

It's confident and classy, so much so that it almost escapes the problems of its third act, which features such memorable sequences as «Pepper Steals A USB Stick From Jeff Bridges.»

Between its uncomplicated plot and high - impact action sequences, this kid - friendly adventure provides a practically - perfect escape for fans of the comic adaptation genre.

When the demon Zahagur escapes, leaving a trail of tortured and dismembered victims in its wake, centuries of bloodshed lay before him (the credit sequence, which montages 400 years of man's inhumanity to man set to a thrash - metal track, coolly suggests Zahagur has chartered the course of mankind's uglier moments).

An escape sequence at the circus reminds of a less exciting sequence from one of Guy Ritchie's «Sherlock Holmes» movies, complete with derring - do captured in slo - mo.

The opening sequences, in which Gallo's character is captured, interrogated, and tortured by American soldiers (from whom he then manages to escape), turn the ostensible political substance of the film into caricature, divesting it of weight.

MacLean doesn't let logic get in the way of a good action sequence, as when the heroes drag prisoners with them when attempting a narrow escape.

The Rookie's best sequence is its intital car chase, in which Eastwood pursues (and boards) the car thieves» semi auto - carrier, but matters get downight nutty by the picture's midsection — in which Pulovski is kidnapped by the baddies: his escape involves a sports car shooting out of a second - story wall, just ahead of an explosion («Fasten your seatbelt,» Pulovski sez).

Other topics arising: costumes (which included CGI armor), linguistics, fighting styles, production design, visual effects (from the unsettling depiction of X-ray vision), set pieces (the tornado sequence, Lois Lane's complicated single shot work escape), underwater filming, and filming locations.

Over-sexualized characters and male nudity is actually fairly commonplace for a Hideo Kojima game (Metal Gear Solid 2: Sons of Liberty even had a playable sequence where Raiden was captured by the enemy and had to escape in his birthday suit, covering his genitals with his hands as the player maneuvered him around the enemy -LSB-...]

However the 15 minutes from when Arnold leaves the recall place and then escapes to Mars is one of the most awesome action sequences I've ever seen.

Jackson and his writing team (Fran Walsh, Philippa Boyens and Guillermo del Toro) have augmented Tolkien's Hobbit text, much of it consists of sequences where Bilbo and the dwarf friends get captured, escape and get confined again, between battles with blood - thirsty Orcs.

But while Creevy struggles with the basics of suspense — often indulging in the same hacky, buzz - killing slow motion shots as he did in Welcome To The Punch — his direction of the film's modestly conceived action sequences is serviceable: a relentless foot chase through the winding streets and picturesque houses of a medieval town; an escape from a Hagen - owned warehouse that's directed in part as a Children Of Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the Autobahof suspense — often indulging in the same hacky, buzz - killing slow motion shots as he did in Welcome To The Punch — his direction of the film's modestly conceived action sequences is serviceable: a relentless foot chase through the winding streets and picturesque houses of a medieval town; an escape from a Hagen - owned warehouse that's directed in part as a Children Of Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the Autobahof the film's modestly conceived action sequences is serviceable: a relentless foot chase through the winding streets and picturesque houses of a medieval town; an escape from a Hagen - owned warehouse that's directed in part as a Children Of Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the Autobahof a medieval town; an escape from a Hagen - owned warehouse that's directed in part as a Children Of Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the AutobahOf Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the Autobahn.

«Tomorrow»» s cleanup sequence feels claustrophobic, even when they head out to the fire escape to dance with brooms, and the helicopter - adjacent tap dance of «I Don't Need Anything But You» is half - hearted.

After a brilliant opening sequence with Ryan Gosling driving a couple of thieves to safety by NOT running red lights or screeching tires around corners all under the watchful eyes of the police, we then move into a silly story with Gosling as a stunt car driver by day, but escape artist by night.

We don't know it yet, but she's scanning for Sam (Jared Gilman), who in the next fastidiously - mapped sequence — which rhymes Camp Ivanhoe with Suzy's home — is revealed to be an escaped Khaki Scout of Troop 55.

- The Athens Escape - Matt Damon, stunt coordinator Gary Powell and second unit director Simon Crane discuss the challenges of shooting a chase sequence through cramped city streets.

Carried over from the previous DVD release are the complete ten - minute robbery sequence that Carpenter cut from the film (it was meant to be the opening scene) with optional commentary by Carpenter and Russell, the vintage promotion featurette «Return to Escape From New York,» trailers, and a gallery of stills, posters, and promotional art.

As for special effects, this is the first HP episode shot in 3 - D, which turns out to be worth the investment given the profusion of captivating action sequences ranging from the heroes» daring escape from a subterranean inferno on the back of a fire - breathing dragon to an epic, high body - count battle on the campus of their alma mater.

By the end, El Mariachi, rebel - without - a-crew Rodriguez's alter ego, walks off into the sunset draped in a Mexican flag, Rodriguez having ripped off the church shootout from The Killer, a chunk of the hospital and morgue intrigue from Hard - Boiled, the plastic surgery discomfort from Face / Off, and, switching directors briefly, the falling escape from Tsui Hark's Time and Tide, and the Odessa Steps sequence from Battleship Potemkin.

Innocent people are gunned down by both sides of the conflict in one sequence set in the city streets, but the movie focuses on Archer and Solomon and their escape.