Sentences with phrase «in opening narration»

«People do not give it credence that a young girl could leave home and go off in the wintertime to avenge her father's blood,» says the adult Mattie's voice in opening narration, «but it did happen.»

As we hear in the opening narration, Joe Coughlin (Affleck) left Boston to become a soldier and came home an outlaw.

Meanwhile, back on Earth, Jack Harper (Tom Cruise), who offers that back story twice (once in an opening narration that unnecessarily hand - feeds information that reveals itself far more naturally in the first act and again to another character), and Victoria (Andrea Riseborough), Jack's live - in communications officer and significant other, are the only two humans left on the planet.

As Bobby explains in the opening narration, his dad lives all year for that trip each summer.

As Richard Roxburgh's dulcet tones confess in the opening narration of Stephan Elliott's raucous ode to that decade's suburban debauchery, such recollections are probably blown out of realistic proportion.

The city, which is credited in opening narration by the shop's proprietor (Cube) for giving us Michael Jordan's Bulls and Oprah Winfrey, is going through some troubles due to intense gang warfare.

After Earth squanders opportunities for drama and surprise through the tiresomely prosaic device of telling the backstory in the opening narration.

Not exact matches

Riding in an open safari vehicle across a 100 - acre savannah, we get semi-close encounters with black rhinos, elephants, and giraffes that have plenty of room to roam (although we could do without the cheesy narration about heading off imaginary poachers).

The film's opening narration introduces us to Harold Crick, played by Will Ferrell in an economic performance where we can feel Ferrell's natural zaniness coursing underneath Crick's bland exterior, just begging to be let out.

As in the first «Deadpool,» the backbone of which was an unexpected cancer diagnosis, Wade and other characters suffer loss and disappointment, but nothing that can't be fixed or amended through machinations that are already implicitly promised in the hero's opening narration.

The screenwriter and Howard do let Lauda and Hunt's marriages slip by with minimal coverage, and the film opens with unnecessary narration and wraps up with obvious dialogue, but Morgan makes up for such issues with his precision in detailing the central relationship.

The film opens with a celestial prologue and narration providing a sense of cosmic comfort of someone watching over it all, of some divine authority in charge.

Also removed: a prologue in which medical scans of Lake's brain were accompanied by voiceover narration explaining his condition, a tip of Schrader's hat to the stomach X-ray opening of Kurosawa's Ikiru (a film, and filmmaker, one doubts Schrader's backers have ever heard of).

Since «George Washington» (2000) opens with a teenage girl's dreamy, wise - beyond - her - years narration as the camera floats in slow - motion through waving fields of grass and glides along railroad tracks, you probably don't need to be told that first - time feature director David Gordon Green, then just twenty five and fresh out of film school, was a big Terrence Malick fan.

An alternate beginning (2:06) would have started the film in much the same way, only casting Jeff's opening narration in a different and fatalistic light (while giving him a continuity - defying haircut suggestive of a reshoot).

This time he alludes to the art - cinema context much more directly by opening with music from Francois Truffaut's Jules and Jim and evoking the form of that film with offscreen narration (delivered by Baumbach himself) recounting the story in past tense and with old - fashioned devices such as irises and wipes and French New Wave devices such as fantasy inserts, fleeting flashbacks, freeze - frames, and jump cuts.

From the opening, in which supposedly weighty narration gives way to crashing waves, the dynamics levels are kind of inconsistent.

In the Hong Kong - set Time and Tide's opening narration, Hark himself paraphrases the first few verses of the Old Testament.

His backstory is ubiquitous, so we gloss over his tragic past in a quick sequence of shots and voice over narration on the opening credits.

When Amy (Mila Kunis) opens the movie with an immediate barrage of exposition - dump narration about the two kids she had young and the challenges she faces as a working mother, the clunkiness feels believable, in its way: She doesn't have time to engage in graceful visual storytelling, especially not with the soft - focus, washed - out cinematography.

It's hard to say for sure, because while he's easily the biggest name in the cast, he isn't really the lead character either, despite the fact that it's his narration that opens the movie.

From its opening sentence («We rode the hillsides and vales of Missouri, hiding in uniforms of Yankee blue») Woodrell's novel lures the reader into the first - person narration of a young Dutch Southerner destined to become the sort of «hardened youth» whose experience of war and death («we made trash of men and places») is such that when he comes upon two human heads sitting «ripe and pecked» on a pole, he simply notes that one year earlier this sight would have sickened him «beyond consolation».

Instead, audio interviews with the founding members, Liam and Noel Gallagher — brothers infamous for their out - in - the - open combativeness toward each other — and bandmates, relatives and associates, are woven together to form an engaging narration.

From Allen's vigorous narration opening with an explicit reference to the film being set in the 1930's to the general, ever - so - slightly starstruck perspectives of Bobby and Vonnie, there is a melancholy and a longing for the times and stars that seem just out of reach (notably, no movie stars are ever shown, apparently just off camera).

Filmmaker Richard Levine, working from his own screenplay, delivers an opening stretch that admittedly doesn't hold much potential, as the writer / director places an excessive emphasis on narration from both Tucci and Timlin's respective characters - with the seemingly ceaseless voiceover making it initially impossible to work up any interest in the characters and their exploits (ie neither Ted nor Angela are developed beyond their most obvious attributes).

A lot of these questioned are given half - hearted answers in a dullard opening narration by Jaden Smith, but unfortunately it plays like a bad Syfy movie rather than a major motion picture.

As the blood swirls in the backdrop like a nightmarish version of those cheesy silk sheet opening credit sequences of the days of old, an opening narration tells us, «Movies are full of shit.»

That willful self - deception is beautifully summed up by a single sequence in which Harley, in rare voiceover narration, sighs about the worlds Ilya opened up for her, and about how there was «an elegance» to him, while the pictures tell the story of two lank - haired dullards stealing bottles of 5 - Hour Energy from drugstores to fence to kiosk vendors.

• ««Dude» — that's a name no one would self - apply where I come from»: opening narration by The Stranger (Sam Elliott), in The Big Lebowski...

However, despite the major flaw of the opening narration there are still many surprises left in Dark City and the film quickly draws audiences into its story.

The excessive narration by Bridges kicks off with an observation about how young people always declare their love in the rain because they saw it in movies; that idea would hold more weight if «The Only Living Boy in New York» didn't open up the clouds every time something remotely dramatic happens.

Campbell's expressive narration draws listeners into the lives of four women, widows of Hitler - resisters, in this touching and eye - opening revelation of the devastating aftermath of war and of the enduring human spirit.

But these handfuls of dazzling prose drown in the proliferation of thick, meandering, third - person passages that dominate the remainder of the narration, and with them perishes the gripping «whodunit» thread promised by the novel's opening pages.

Part Two opens with a first person narration: Peilan speaks and finally we hear her side of the story, starting with her early life in a small village in China outside Fuzhou.

The opening German narration in Castlevania: Rondo of Blood was changed to someone else reading the same German passage, for reasons unknown.

I think I may have been a bit hasty in comparing it to Dear Esther, but the opening, narration style and level design doesn't do much to discourage that.

Her self - narration feels like a child telling you their secrets and accomplishments; she is as open about her pain and weakness as she is about her plentiful triumphs, and this is evident in both her art and in her recent autobiography, titled, «Infinity Net».

Two, Chelsea College of the Arts November 2013 401 1/2 Studios, London September 2013 MA Interim Show, City & Guilds London Art School February 2013 All in One Place, Chelsea College of the Arts November 2012 401 1/2 Studios, London June 2012 Untitled Arts, Chelsea Old Town Hall April 2012 Art in Mind — «Illusion» Group show, Brick Lane Gallery, London December 2011 «An Urban Safari» Group Show, Battersea November 2011 401 1/2 Studios September 2011 «Kunstpunkte», Dusseldorf, Germany June 2011 Untitled Arts, Chelsea Old Town Hall November 2010 401 1/2 Studios, London October 2010 Lambeth Open May 2010 WAC @ Putney Exchange March 2009 Royal Geographical Society - London April 2009 Spaces and Narrations, Chelsea College of the Arts November 2009 401 1/2 Studios, London October 2009 «Battersea & Beyond» Solo show, Acquire Arts

The event will open with a screening of Trinh's film and a lecture to follow on April 21, which refuses the conventions of narration and mean - making in its montage of scenes shot in Senegal.

In the opening lines of narration in Ellie Ga's two - channel video installation Strophe, a Turning, 2017, the artist discusses Russian poet Osip Mandelstam's comparison, in a 1912 essay, between writing a poem and lobbing a bottled message into the seIn the opening lines of narration in Ellie Ga's two - channel video installation Strophe, a Turning, 2017, the artist discusses Russian poet Osip Mandelstam's comparison, in a 1912 essay, between writing a poem and lobbing a bottled message into the sein Ellie Ga's two - channel video installation Strophe, a Turning, 2017, the artist discusses Russian poet Osip Mandelstam's comparison, in a 1912 essay, between writing a poem and lobbing a bottled message into the sein a 1912 essay, between writing a poem and lobbing a bottled message into the sea.