Simply put, even
in cinematic sequences the player can control Asura, directly affecting the gameplay, making Asura's Wrath a truly unique experience.
In another cinematic sequence, Squanto pulls off an improbable escape to accompany Epenow and the crew setting sail back to America.
Seeing the new environments is a treat for any lovers of Lordran, with a particular favourite being a gorgeously rendered Gothic structure that is a little reminiscent of Anor Londo, shown
in the cinematic sequence.
Not exact matches
The promising atmosphere is perpetuated by an engrossing early
sequence in which the central foursome debate the fates of three seemingly innocent bystanders, and yet it's equally clear that the movie begins to peter out almost immediately following that electrifying interlude - as writer / director Berg's less - than -
cinematic visual choices result
in a lack of thrills that grows more and more problematic as time progresses.
«Triumph of Love» opens with a
sequence that's so lively and
cinematic, so promising
in what it might portend, that it's almost sad to look back on it.
The story is told
in great part by
cinematic video
sequences and ingame narrative
sequences, and while these are fantastic
in many ways they can also become a bit tedious.
Everything is competently implemented without excelling
in any individual direction, but the combination and sheer variety of content and fan service has to be commended, and for once it's nice to play through a kids game that doesn't just shoehorn the
cinematic action
sequences into an average procession of linear levels.
Director Jonathan Teplitzky sometimes captures exclusively
cinematic moments, such as a
sequence in which Churchill chases his iconic hat across the beach on a windy day, or when a group of children recognise Churchill
in a car.
Combining Hitchcockian camerawork, lush, over-saturated colors, rollercoaster - like thrills, and at times surreal situations, Argento could overcome the sadism and misogyny
in his gallery of sliced and diced beauties with the sheer
cinematic bravura and beauty of the
sequences.
It leads to threats at gunpoint; the slowest outboard motorboat
in cinematic history; breaking and entering; the most peculiar chase
sequence I've seen
in a very long time, and a couple of key
sequences in and above a strip club.
With Mr. Salinas and Greenberg's consent, I offer to kickoff our visit with an immediate impression during the start of the film that distinguishes it's score from Cartel Land's... it deftly emerges with warm, melodic cello and higher - notes vibraphone progessions from a dreamlike silence, and only registers as a lilting, tender counterpoint to the viscerally intense imagery of ISIS - occupied contemporary Raqqa, Syria
in the picture's opening
sequence well after we're already emotionally all -
in invested via what will certainly be a harrowing, yet inspiring
cinematic experience.
An exclamation point sprouts from the heads of alerted enemies; lengthy codec conversations and
cinematic sequences punctuate the action; bosses yammer on and on about political ideologies before dueling you to the death; and you can even hide
in boxes to stay hidden from foes.
The «Select Scenes Commentary with Sally Potter» is not an audio commentary track but a ten - minute featurette of Potter discussing a few elements of the film
in detail, such as the scenes of Orlando's asides to the camera (her
cinematic version of the direct address
sequences from the novel, but pared back through the shooting until there are only a few, very brief addresses, «a sort of complicity» she calls it) and the casting of Quentin Crisp («He is the true queen of England, he's my idea of royalty,» she confesses, as she describes his presence as way to turn the idea of sex and gender on its head right from the beginning).
That disclaimer notwithstanding, anyone open - minded enough to forgive the blasphemous action
sequences is
in for a
cinematic treat every bit as cerebral as it is visually captivating.
Gary Ross did a solid job crafting the
cinematic world of Collins» novels, but «The Hunger Games» was lacking
in certain areas, particularly the action
sequences and visual effects.
Here his blankness is perfectly suited to Chili's unflappable cool — and
in one of the most welcomely gratuitous dance
sequences in cinematic history, he reprises both his defining rôle from «Saturday Night Fever», and his seminal floor moves with Uma Thurman from Pulp Fiction.
By 1985, Madonna was not only a chart - topping global force, she was a show - stopping performer, revealing her
cinematic potential
in the video for «Material Girl,» with its nod to Marilyn Monroe's «Diamonds Are a Girl's Best Friend»
sequence from Gentlemen Prefer Blondes, as well as her controversial performance of «Like A Virgin» at the 1984 VMAs,
in which a white wedding dress - clad, «BOY TOY» belt - bearing Madge writhed around the stage floor like the future Queen of All Media everyone (primarily she) thought she might become.
There's one incredible
sequence around the middle of the movie,
in which Billy describes his ideal ending to their plight, which skewers
cinematic cliches with gusto.
In these opening
sequences, Wright's
cinematic style is particularly noteworthy: the zooms, the rapid - fire editing, close - ups of beverages being refilled and chores being completed.
We, the audience, however, have seen an opening
sequence in which another young African - American, walking
in a white suburb, is felled by a masked man dressed like many a
cinematic slasher.
Cohen stages the entire affair with slick style and urgency, particularly
in the spectacular set pieces, which include a showstopping avalanche / snowboarding
sequence that easily ranks among the most awesome
cinematic sights of the year.
How fitting, then, that the subtitle of this sequel is Island of Lost Dreams, for Rodriguez has let his vivid imagination run even more amok
in waking,
cinematic life for this second adventure of «tween secret agent siblings Carmen (Alexa Vega, who displays her star quality
in a startling closing credits
sequence) and Juni (Daryl Sabara) Cortez.
Elliot Smith's «Needle
in the Hay» finds its
cinematic home
in the
sequence in which Richie Tenenbaum (Luke Wilson) shaves his face and then slashes his wrists.
At the film's recent press day, Shyamalan and Blum discussed their creative partnership and the most surprising aspect of working with each other, why the scares
in this film are deceptively simple yet terrifying and original, how the mock documentary style format gave Shyamalan new
cinematic tools for keeping the audience guessing, his directing style, what he was looking for
in his young actors, why he cast experienced stage actors for the grandparents» roles, his collaboration with award - winning DP Maryse Alberti, how he recruited Oxenbould to shoot the chase
sequence underneath the house, why he likes treating B genre movies like they're A dramas, and more.
He even segues into a few surreal operatic
sequences with hefty naked women, commenting both on
cinematic score vs. emotion as well as a simple comment on what we take
in our systems as seductive versus what the eye finds as such.
Directed by Rob Cohen, the director of high - adrenaline action blockbusters The Fast and the Furious, xXx, and The Mummy: Tomb of the Dragon Emperor, this edge - of - your - seat action - thriller showcases some of the craziest action
sequences in recent
cinematic history.
Director Rob Bowman certainly does an effective job of ensuring that The X Files never feels like just another episode of the show, as the filmmaker - armed with Carter's almost epic script - has infused the proceedings with a decidedly
cinematic sensibility that's inherent
in even the most innocuous of
sequences.
Captain America: Civil War (PG - 13 for extended
sequences of violence, action and mayhem) 13th episode
in the Marvel
Cinematic Universe series finds the Avengers split into a pair of adversarial factions, freedom lovers led by Captain America (Chris Evans), and a pro-government camp led by Iron Man (Robert Downey, Jr.).
Calling Lincoln an heir to these films perhaps does it a disservice however, for,
in the film's often misunderstood prologue and following dream
sequence, Kushner and Spielberg openly acknowledge their movie's genial relation to the actuality of the 13th Amendment's passage, theater, and
cinematic history itself — and by announcing upfront that they're employing the tools afforded by the arts to re-create past events, they let us know that their aims are somewhat closer to folklore than strict reportage.
In Blue Ruin, Jeremy Saulnier's second feature, a handful of sequences give off the intoxicating effect of watching a historic cinematic landmark, but in real tim
In Blue Ruin, Jeremy Saulnier's second feature, a handful of
sequences give off the intoxicating effect of watching a historic
cinematic landmark, but
in real tim
in real time.
I do know that they were popular, not only because of the game play, but because they have a
cinematic feel to them, with unfolding storylines and,
in later editions, well - produced live - action cut - scene
sequences featuring well - known actors like Mark Hamill, Malcolm McDowell, John Rhys - Davies, and even former porn queen Ginger Lynn Allen.
Even as yet another superhero origin story, there are some truly next - level visual effects and action
sequences in director Scott Derrickson's film, and opening the Marvel
cinematic universe up to all the possibilities that come from the realms of the mystical is an exciting prospect.
While the movie succeeds as a love letter to everyone involved
in the hunt for the world's most wanted man, the film itself, from a
cinematic standpoint, is a disjointed mishmash of gripping behind - the - scenes details paired with lousy combat
sequences, awkward performances and a boring finale.
Everybody loves quick time events, those timed button presses utilized
in today's high - tech interactive entertainment programs to help the user feel a modicum of control over grand
cinematic sequences.
Basically, this means that the game's story has been added,
in the form of a new
cinematic sequence and two remixed story maps, the Happy Throne Room and Ramparts - these set up events to follow
in the game's next adventure pack.
From David Fincher's hyper sci - fi juiced credit
sequence — underscored by searing punk music — to its «Blade Runner» / «Mean Streets» ending, the visionary filmmaker pulls out every stop
in his arsenal of
cinematic tricks to deliver walloping visual blows.
It's a simple
sequence, but speaks volumes to the level of detail given to Nadine that makes her feel immediately iconic and
cinematic in a way that very few American movies about teenagers have been
in the last few years.
The seven features from Russian
cinematic legend Andrei Tarkovsky are examined
in an
in - depth video essay, featuring some of his most acclaimed
sequences (Channel Criswell).
The drive experience will have a
cinematic feel that celebrates Jaguar's long standing relationship with movies and provides consumers with the opportunity to star
in their own filmed action
sequence as they experience high performance driving on a closed course and on - road handling through a street drive.
Well, today Bioware have announced Mass Effect 3: Extended Cut, a completely free DLC pack that promises to, «give fans seeking further clarity to the ending of Mass Effect 3 deeper insights into how their personal journey concludes,» by adding
in brand new
cinematic sequences and epilogue scenes.
This announcement comes after just having announced that Mass Effect 3 will be getting an Extended Cut DLC pack
in the Summer that will add
in new
cinematic sequences and epilogue scenes at no extra cost to gamers.
A
cinematic adventure, not one of the three games lasts longer than 12 hours, and they all feature Hollywood - inspired action
sequences, traditional cinematographic framing techniques and even the standard overarching story arcs you'll find
in any successful filmic trilogy.
The character models are also nicely designed, but facial expressions seem bland and neglected, if nonexistent
in some of the game's cheesy dialogue and
cinematic sequences.
For example, since I'm audio focused I started by exploring voice overs, ambient SFX,
sequenced audio
in «
cinematic» moments, etc..
Everybody loves quick time events, those timed button presses utilized
in today's high - tech interactive entertainment programs to help the user feel a modicum of control over grand
cinematic sequences.
Indeed, even
in 2K17's launch trailer, filled with the most
cinematic moments of the game possible, watching the slow - mo walk
sequences of players on the court, when they don't have a ball to follow, is like some scene from The Walking Dead or Invasion of the Body Snatchers.
While the campaign is crafted with an excellent sense of
cinematic detail and tons of flashy yet horrific
sequences that capture the essence of war, it's an experience that really doesn't offer anything new to what has already been seen already
in games that have already covered the second World War, and the A.I. — especially friendly soldiers — is occasionally wonky.
The story is told
in great part by
cinematic video
sequences and ingame narrative
sequences, and while these are fantastic
in many ways they can also become a bit tedious.
AC: There are smart film - proven techniques to do it, such as having a zoomed -
in shot and being somewhere else entirely with the next zoomed - out shot, putting an emphasis on the emotions on a character's face to distract from shifts, starting your
cinematic sequence with an environmental overview shot, timing it together with dynamic movements, etc..
Players will control Asura
in a blend of action and
cinematic sequences taking an active role
in the gameplay direction.