Sentences with phrase «flashback sequences of»

You can turn them on if you want and they automatically return during flashback sequences of the first game.

Blunt's take on Norah is marginally less successful, although she certainly does an adequate job of Norah's conflicts and destructive personality traits, while allowing her moments of truth, particularly in scenes shared with flashback sequences of her mother.

I can see Oracle's role in the movie being part of a flashback sequence of some kind that could easily be cut for time, and the idea that this Joker killed Robin could indicate a flashback for that and a possible related Flashback for Oracle, too.

Not exact matches

The majority of the story is told in a flashback / dream sequence.

After seven movies of playing Severus Snape with slimy and malevolent aplomb, Alan Rickman is finally given the chance to imbue his character with some genuine emotion — the flashback that reveals his tragic history is easily the most moving sequence in the film, if not the entire series.

To call Early Man wildly anachronistic would be an understatement: the opening flashback sequence that depicts humans and dinosaurs living side by side is but the first of its obvious and unclever bizarrities.

As writers, Jon Hurwitz and Hayden Schlossberg run their characters through a bunch of funny situations, work in flashbacks and dream sequences to great effect (Harold & Kumar is, in the best possible way, something of a live action «Family Guy»), but their directing skills are nil.

Those could also be flashbacks or dream sequences — or, as Infinity War and Avengers 4 directors Joe and Anthony Russo have suggested, we could simply be seeing another demonstration of the technology Tony Stark introduced in Captain America: Civil War, called Binary Augmented Retro - Framing (B.A.R.F.), that allows users to experience their memories as if they were the present.

He doesn't have much to do, but an exposition - heavy flashback sequence where the character's true loyalties are revealed is one of the film's biggest highlights.

He separates each sequence with a series of flashbacks, fully detailing the wedding chapel massacre that began it all, as well as the Bride's not - quite - tongue - in - cheek training with white - haired kung fu master Pei Mei (Gordon Liu).

His father is a goose, and the nature of that pairing is explained in flashbacks that have a nice style of their own (the computer - type animation morphs into pen - and - ink in those memory sequences).

The Farrellys have made some questionable storytelling decisions before, but one of the best and silliest was drafting Rex Allen Jr. (son of the late Rex Allen, «The Voice of the West») to narrate the film, necessitated by an early flashback sequence.

This may explain the decision by Jon Amiel, the director of «Creation,» to present Charles Darwin's authorship of «On the Origin of Species» in a weird web of flashbacks and ghostly fantasy sequences.

Bottom line apart from extra fight bits and various other odd small scenes the main crux of the director's cut are a few flashback sequences where Riddick sees a spirit - like entity of one of his people.

Sensational sequences abound, from a runaway rickshaw chase to a black, white and red hand - painted - looking «flashback», hyperrealistic water scenes and 3D» ed - to - the - max aerial views of the Battle Of Gongmen City, the solitary silhouette of Po poised (as iconically as Dirty Harry on the bridge) on a pagoda rooftop above Shen's dragonshiof the Battle Of Gongmen City, the solitary silhouette of Po poised (as iconically as Dirty Harry on the bridge) on a pagoda rooftop above Shen's dragonshiOf Gongmen City, the solitary silhouette of Po poised (as iconically as Dirty Harry on the bridge) on a pagoda rooftop above Shen's dragonshiof Po poised (as iconically as Dirty Harry on the bridge) on a pagoda rooftop above Shen's dragonship.

Director Jennifer Yuh Nelson, who oversaw the elegant title sequences from the first film, likewise gives Kung Fu Panda 2's series of flashbacks a different look, harking back to Chinese shadow puppetry and delicate watercolors.

Jones» Rolling Stones jacket and the recent vintage of the ATM itself has some speculating the scene was filmed for a flashback sequence.

Known for its expressionistic lighting and shadows, tight, claustrophobic urban settings, and frequent use of dream sequences and flashbacks, film noir and its dark, ambiguous look at life are routinely discussed from a visual perspective.

Flashbacks and dream sequences tell the story of Ray's childhood, her father, and the surprising way she coped with his actions.

The finished film doesn't play like a patchwork, but there are signs of cuts and stitches: a strange, abbreviated hot - air balloon sequence in one flashback, and McGregor's role in general, especially the way it waffles around his degree of villainy.

But In A Valley Of Violence is very squarely a Western; it only hints at its director's background in indie horror in a gruesome throat - slitting that happens late in the movie and an inspired sequence that unexpectedly applies the aesthetic of found footage to a flashbacOf Violence is very squarely a Western; it only hints at its director's background in indie horror in a gruesome throat - slitting that happens late in the movie and an inspired sequence that unexpectedly applies the aesthetic of found footage to a flashbacof found footage to a flashback.

The flashback sequences — especially the ones featuring an enigmatic Laura Dern as her mother — are a nice break from her hiking adventure, and sport a dream - like quality, with quick flashes and lots of camera movement.

The introduction to the character is a ten - minute sequence, itself with an overextended flashback, and after the initial shock and fun of watching Depp wears off, I started wishing to get back to the man - walrus.

Each of the four are said to have «their own agenda and influence on the story,» which will play out in flashback sequences.

It's in these sequences that Burton allows his characters to tell one or two stories verbally without visual aids or flashbacks, and they're the saddest tales of all.

The addition of several flashback sequences revealing a much younger Max (played by Freddie Highmore) is a nice touch, but it doesn't offer anything new about his relationship with Henry that the audience doesn't already know.

Though it has a lot of fun playing with slasher tropes and cinema in general (showing the way Max and her friends are affected by elements like musical cues, monochromatic flashback sequences and slow motion within the fictional movie), the film isn't funny or scary enough, ultimately becoming a victim of its own satire due to its insistence on preserving the genre's traditionally bad acting and writing.

His flashback sequence included a scene of Harry's mother talking to harry in his cot just before she dies.

The flashback is heavy on CGI, and it features a very unique style of lighting to blend in with the dream - like quality of the sequence.

The pacing suffers from the disconnection that can occur when far too many flashback sequences interrupt the flow of the main storyline, and the dramatic twist and eventual resolution border on absurd.

This may seem like the start of a great time at the movies, but unfortunately, the next forty or so minutes is filled with flashback that give new information to the opening sequence of the original, following kidnappers (not the one I first mentioned, but a second), and many attempts to explain the reason for why the movie exists.

It's that segment where Willis could make a prominent appearance (through flashbacks and / or dream sequences), though a fleeting cameo in another part of the film - «Saturday Night,» for continuity's sake - isn't out of the question.

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.

As in his television work and the original «Ted,» some of the best bits here are the random non sequiturs, flashbacks and fantasy sequences.

In this unabashedly emotional drama about estranged — yes, twins, you got it — Hader and Wiig are physically full - grown versions of Eddie Schweighardt and Sydney Lucas» little Milo and Maggie, respectively, who are limited to flashback sequences.

Boyle and Simon Beaufoy's script does provide many flashbacks and fantasy sequences, so the film isn't confined in the same way as Buried, but all the same this must be the kind of challenge that actors relish.

Then Twohy starts layering in flashbacks to fill in the back - stories, up to an extended black and white sequence that sorts out the loose ends and sets things up for the frantic, action - charged climax.The first half of the film builds the atmosphere perfectly, establishing the characters with economy thanks to a clever script and an especially strong cast.

Worf's flashback sequence that held not a smidgen of Jadzia memories.

That it's uneven, that its plot is thin and its characters underdeveloped, that its humor is needlessly crude, and that some of its flashback sequences (of which there are many) grind the movie to a halt.

That sad fate befell Kaylie and Tim's parents (Katee Sackhoff and Rory Cochrane), whom we see in flashback sequences interwoven with the siblings» present - day attempts to conquer this evil piece of furniture.

The sequence of Williams as a child is so similar to Malick's Tree of Life, that we viewers experience our own flashbacks... right down to Jessica Chastain recreating her scenes from that movie (this time as Williams» mother).

Kevin Costner's offscreen death (his flashback sequences were cut) provokes a group of his friends — former student radicals now living in uneasy comfort — to talk about their lives and listen to one of the best - selling soundtrack albums of all time.

The first ten - minutes feature a double - dose of shock treatment and the director constructs acute flashback sequences to connect all the missing links throughout the film.

The story of «Alex & Emma» is simple and, with the exception of various flashback - style sequences into a novel - in - progress, makes me think this was originally written as a play.

From the opening sequence's fast - motion shots, rapid editing, and hallucinogenic flashbacks of a child, we quickly realise one of the main objectives of Mad Max: Fury Road is to create a visual experience.

Through a series of carefully orchestrated flashback sequences, we learn how these two tortured souls came to be, and what indeed brought them together.

Though she doesn't crack the case — instead, like in Ocean's Eleven, we learn Jimmy got away with the money through an elaborate flashback sequence — she does make an appearance at Clyde's bar at the end of the movie.

Doneen fills in some of these gaps with documentary footage from past BBA raids and also with beautiful flashback animated sequences from Jason Carpenter, who did similar duties on Guggenheim's He Named Me Malala.

Other moments of note include a towpath pursuit featuring a wolfhound and a goose, a lovely animated sequence involving familiar London landmarks and a flashback showing how Padds — voiced as decorously as ever by Skyfall's Ben Whishaw — came to have an aunt in the first place.

Though it opens with a series of fairly needless flashbacks, Friday the 13th: Part 2 quickly segues into a surprisingly suspenseful pre-credits sequence detailing the doomed exploits of Friday the 13th survivor Alice (Adrienne King).