Sentences with phrase «escape sequence in»

My father, who is 64 and has never played a platformer in his life (he plays turn - based strategy games), has just finished the first escape sequence in the Ginso Tree, with a death count that compares favorably to other players.

One brilliant slo - mo heavy escape sequence in particular stands out from what is ultimately an «alright» movie.

Not exact matches

@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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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.

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.

That helicopter escape is hardly the most extreme action sequence in «Rampage.»

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.

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.

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 anythinIn 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 anythinin 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 anythinin 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.

The film opens with a patently ridiculous sequence in which Ford, having bedded his client's daughter Nola (Australian supermodel Jessica Gomes), escapes her family thugs by fleeing naked into the night on a skateboard.

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 filIn 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 filin the making of a contemporary film.

Yet there are some good sequences here, the best sans - monkey, as an early escape from a fire is captured in a nifty tracking shot.

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.

That further clues in first - time Bay - watchers to his priorities: the action sequences are lengthy exercises in chase and pursuit, destruction and death, escape and trap, defeat and triumph.

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 special effects are fine and there a few quality action sequences (the dwarves barrel escape scene is a standout), but, once again, there is no resolution and yet Jackson sets - up the conclusion in such an obvious fashion that you wish he simply took another 20 minutes and ended it here.

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).

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-...]

In another cinematic sequence, Squanto pulls off an improbable escape to accompany Epenow and the crew setting sail back to America.

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 Autobahn.

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.

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.

A film - length commentary by Evans (who, despite being involved in an ever - deepening river of crap since helming the original, has his entire career neatly encapsulated by the two Sandlot films) provides such indispensable nuggets as the fact that a BMX stunt rider («whose name escapes me») performs the stunt riding during the film's extraordinarily boring bike chase sequence and that «this dog could really run!»

The moment is a fanciful, dramatically obscene sequence in which Churchill escapes his chauffeured state car and decides to ride the Tube for the first time in his life, surrounded by ordinary commuters, who let him know what they think about the Nazis and stop short of taking turns to sit on his knee.

The early sequences in the gulag are so hard - bitten and harrowing that the escape by Janusz and six other prisoners represents a liberation for us as well.

Stunt Guy (Kempt Ltd) «Stunt Guy puts you in control of the spectacular escape sequence following a daring bank robbery.

Gameplay Added checkpoint melody, spawning a checkpoint wherever you like Completely overhauled the checkpoints system, they're more intuitive and fair now, and faster too Added HD Rumble to a lot of instances that didn't have rumble in other versions, including ambient rumble in the crystal room and escape bubble sequence in Tower Town Flying Toki (spoiler!)

Spider - Man eventually makes his way to Demons leader Martin Li (aka Mr. Negative), which sets off a thrilling chase sequence in which Spidey tries to stop Li from escaping in a helicopter.

It even gave us one of the best villain concepts in the series, as the SA - X showed us how terrifying an enemy Samus could be before Metroid Prime: Echoes gave us Dark Samus, via some incredibly tense stealth and desperate escape sequences before the eventual showdown.

Particularly in the final escape sequence, when the whole base is after you, it felt new and exciting.

The missions and even settings are pretty well - worn by this stage as well, although stadium shootout and ice escape sequences are pretty good, as is a flooded level that allows players to dip beneath waist - deep waters to shoot unaware enemies in the knees.

The set pieces and daring escape sequences are likewise bigger and more bombastic as well, but Rise of the Tomb Raider also greatly increases the quiet times, the slow times, so you can actually soak in the world you're exploring.

The first Heist in GTA V evoked moments of the Wall Street escape sequence from The Dark Knight Rises.

While the games doesn't get noticeably easier (enemies still seem to die in the same amount of hits) it does now have automatic checkpoints for the different escape sequences that happen in the game (and if you'll check my stats above, at least 20 % of my 337 deaths could be blamed to those).

These unfair moments increase in frequency later on in the game, with platform - spawning spirits that seem to float away with little rhyme or reason, and a Metroid - style escape sequence that was so aggravating it took away any sense of tension.

The Earth also makes an appearance in the background of the Moon Kingdom, where it is seen rising from the horizon, while its southern hemisphere is seen during the escape sequence after the final boss fight, where Mario (controlling a captured Bowser), Cappy and Peach must try to find a giant Spark Pylon in order to escape the collapsing Wedding Hall.

A Way Out from creator of Brothers: A Tale of Two Sons prison - escape action - adventure set in the 1970s requires two players, either via split - screen couch co-op or online play «there will be driving, there will be shooting, there will be stealth sequences — ... you'll never be doing the same thing twice, nor for too long»