Sentences with phrase «minute sequence sets»

Besides being the first of the Coens» many fascinating flourishes here, this interpretable 8 - minute sequence sets a model for the potentially ominous to enter the lives of well - meaning Jewish faithful.

Not exact matches

Twente seemed set to end a 10 - match winless streak, a sequence stretching back to mid-December, when they went ahead five minutes after half - time through on - loan Malaga forward Adnane Tighadouini's strike.

After the fifth repetition, pedal easy for five minutes and rest before repeating the entire sequence two more times (in total you will do three interval sets).

A 75 minute set sequence hatha yoga practice taught at 103 degrees and 40 % humidity.

The result is a tour - de-force that clashes static set - pieces (including the film's most astonishing sequence, a five - minute ritual as Orin asks the village elders for advice, the figures illuminated against interior darkness by phosphorescent, ghostly lighting) with «extravagant» camerawork that has been compared to Max Ophuls (11).

It's the sort of set - up that would seem to lend itself naturally to a briskly - paced, unapologetically violent B movie, and while there are certainly a number of enthralling sequences peppered throughout, Outlander's oppressively bloated sensibilities play an instrumental role in diminishing its overall impact (ie the film should've topped out at 80 minutes, max).

Extras include a six - minute behind - the - scenes featurette whose highlight is star Wilson suiting up for a pre-production supersonic flight; seven deleted or extended scenes — among them odd alternate opening and closing title sequences — with optional commentary from director Moore and editor Paul Martin Smith — these trims carry a viewer discretion warning, for they would've threatened the film's PG - 13 rating; a fantastic, largely CGI pre-visualization (with, again, optional Moore / Smith commentary) of the virtuoso ejection set piece that at times gives Final Fantasy a run for its money; the teaser trailer for Spielberg's upcoming Minority Report; and two engrossing full - length commentaries, one by Moore and Smith, the other producer John Davis and executive producer Wyck Godfrey.

A five - minute featurette called «Greetings From Bull Mountain» is the standard five - minute B - roll / soft - sell interview errata that features a few additional male buttock shots; «King of the Mountain» is a two - minute music video that splices action sequences from the film together with bloopers and sets it to music (something resurrected in feature - length form by this year's ESPN's X-movie); and nine chapter - encoded deleted scenes (blissfully sans commentary and running between fifteen seconds and a minute, each) are essentially long «comedy» shticks that prove for as bad as Out Cold was, it could have been even worse.

The opening sequence of «Megan Leavey,» setting up Megan's life «before» is no longer than five minutes.

She gets a dance sequence, which she of course clumsies up before being rescued at the last minute (by her man, who takes over a drum set and gives her a driving beat, which is, um, a metaphor I guess).

In between it offers, among other things, meditations on Spanish architecture and landscapes, an outdoor concert where the conductor is on an elevated platform in a shopping arcade and the musicians are on nearby balconies, a lavish state party thrown for the novelist, a verbal chess match at the party, a credit sequence 20 - odd minutes into the film, a concert inside a cathedral, extended lovemaking, a recitation of part of the novelist's book, an opera performed at a gigantic fish market, a university lecture on algae, another opera set (though not staged) in a Turkish bath, a TV interview, a meal prepared and eaten by the three lovers, a film screening, and a plane trying to extinguish a forest fire.

The film takes a good amount of time setting up its central conflict, so when the inevitable confrontation breaks out in the final twenty - or - so minutes, we are so deeply invested in the scenario, the sequence packs a punch.

New to this disc is the four - minute «In Walt's Words: Snow White and the Seven Dwarfs,» an audio - only interview with Walt Disney discussing the film set to an image track, the seven - minute featurette «Iconography» that explores the film's influences on popular culture, art, and fashion, «@DisneyAnimation: Designing Disney's First Princess» with four contemporary animators discussing the design of Snow White, and an «Alternate Sequence: The Prince Meets Snow White,» plus the breezy promo - style pieces «The Fairest Facts of Them All: 7 Facts You May Now Know About Snow White» with Disney Channel star Sofia Carson and the rap retelling «Snow White in Seventy Seconds.»

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.

Instead of actually fulfilling the oh - my - God - this - is - awesome momentum set up right from the opening sequence (a delightful 5 minute short film in its own right) by hunkering down and making the story, ultimately, work, he relies almost entirely on smoke and mirrors: throwing whiz - bang - eveything - but - the - kitchen - sink - razzle - dazzle to keep us distracted.

Any hope that «Warcraft» would be the first great video game adaptation is promptly squashed within the opening 30 minutes, and it only gets worse from there as the audience is forced to suffer through the convoluted plot (including an unearned romance between Lothar and Garona), a clunky finale that's more interested in setting up future sequels than providing a satisfying conclusion, and a handful of unmemorable action sequences.

«The Making of Moonrise Kingdom» consists of an 18 - minute featurette shot on the set of the film plus four storyboard animatics and narrator tests, five minutes of screen tests of the child actors, and a short piece on the miniatures used in the flood sequence.

(Like so many of the movie's Earth - set sequences, this expository scene is set in a car and looks so cheap that it comes as a surprise when, minutes later, one discovers that the production had the budget for a space station set and a cast of more than two people.)

The Lone Ranger's action sequences, mostly set atop and aboard real moving trains, are exciting and impressive, but that's only for the first few minutes.

The hallmark sequence of Atomic Blonde is actually just one part of a bravura 10 - minute single - take (well, several shots cleverly disguised to feel like a single take) which also incorporates a brutal apartment - set showdown and a frenetic car chase.

The film starts quite abruptly — no title card or Marvel Studios ident either — no, that comes ten - ish minutes in, following a sequence of back story set in an Oakland apartment block in 1992.

The sequence plays on for a few minutes, but then reality is only given a few seconds to set in.

An eight - minute montage of interviews with Shatner, Nimoy, Kelly, and Montalban conducted in 1982 (followed by three minutes of animated production stills — one depicts an on - set «Fantasy Island» prank), storyboard archives for thirteen sequences (on one such panel is scribbled the directive «This must be gorgeous!»)

Indeed it's the first thing you hear post a particularly lengthy (almost five minutes) opening credit sequence set to a familiar minuet by Luigi Boccherini that has come to stand for arch European elegance.

His film may not boast a single centrepiece action sequence to rival, say, the D - Day landing scene in Saving Private Ryan, or even the single - take, five - minute tracking shot of Dunkirk beach in Atonement, but it is effectively one long unbroken set piece — surely one of the most impressive ever committed to celluloid.

Of course, the same could be said of its surprising shortage of action, with only two decent set pieces (including an intense military extraction sequence) over the course of its 123 - minute runtime.

From the stunning, single - take opening sequence that lasts more than 12 minutes, to the numerous set pieces throughout, «Gravity» is such a technical marvel that it looks like Cuarón shot the whole damn thing in space.

*** Includes 129 original reading passages and comprehension questions *** *** Includes 30 fluency passages *** *** Includes 11 Reading Posters *** - character, setting, realism and fantasy, main idea and details, cause and effect, author's purpose, compare and contrast, sequence, plot, theme, and drawing conclusions *** Includes four level charts for teachers, parents, or students, so that they can keep track of their progress *** *** Includes a roster - words correct per minute for each student / child for fall / winter / spring *** Skills addressed in this resource: # 1 - think and search # 2 - author and me # 3 - analyze text structure # 4 - identify setting # 5 - identify character # 6 - identify plot # 7 - make and confirm predictions # 8 - cause and effect # 9 - compare and contrast # 10 - retell # 11 - classify and categorize # 12 - alliteration # 13 - rhyme and rhythmic patterns # 14 - onomatopoeia # 15 - similes # 16 - repetition and word choice # 17 - sensory language # 18 - study skills # 19 - text features # 20 - genres This is GREAT practice for testing while also providing a lot of fluency practice!