Sentences with phrase «moving stories without»

Not exact matches

The company prints about a million business cards a day.It is a similar story throughout the broad range of others products, including brochures, catalogues and corporate reports.Such growth has not been without its problems.Expansion has meant six complete moves in 10 years and after being at Balcatta just a year, there is a need to move again — to more than double the size of just the print operations to more than 2,000 square metres.

A new film, The Innocents, tells a moving story of healing and grace without downplaying the grief and trauma that preceded them.

If the story holds up, Gottlieb's nomination would be widely applauded by the biopharma industry, which would likely see the move as a commitment for continued reform without the kind of wholesale deregulation that would scuttle the agency's gold standard for drug reviews.

Or imagine a cat falling from a one - story building, let's say, snapping it's legs out and around and back so that it can land on its feet; it too is moving through space without pushing against anything.

It's a rhythm that helps move us through a science story smoothly and without fatigue.

Most people back in the states think we are little crazy / can't believe we are doing this without family around etc, but truly we have never felt more supported than the community of people in our village, and little did I know we moved to an area where most women prefer home birth and have multiple stories to share.

It's nice to see a little more of Hobbit life but it does little to move along the story; the film works fine without it.

He approaches this material in a similar way, always going for the most beautiful and picturesque shots rather than going for ones that will move the story forward, and the results are literally like thumbing through a photo album of beautiful pictures without much of a connection from one page to the next.

There's that peculiar Irish humor and that awkward Irish sweetness, but the story moves like a juggernaut without motivation.

It's at its best when it marries its poignant story to its platforming, and at its weakest when it's about moving boxes, but it rarely goes very long without showing us something worth playing.

The story moves along without any real sense of urgency or suspense.

In a move that seems both narratively practical and winkingly pointed, Fantastic Beasts is an immigrant story from its first scene, as British - born - and - bred Scamander arrives at 1926 Ellis Island and amusingly makes it through customs without declaring to the Muggle there what he's really packing.

A Ghost Story (David Lowery) A mournful and poetic film about a restless spirit (wearing a sheet with the eye holes cut out) played by Mark Ruffalo who is forced to silently and helplessly watch as life moves on without him.

The script is wonderfully digressive, trailing off in funny monologues, dramatizations and extended bits of wordplay without caring much about moving the story forward.

On the one hand, the new scenarios and characters can keep the story moving along without things getting too bogged down.

The story, which could easily have been too convoluted to follow for someone who doesn't understand British laws and government agencies, is relatively easy to follow, and features a nicely developed script by acclaimed screenwriter Steven Knight (Redemption, Dirty Pretty Things), though some all - too - convenient narrative shortcuts are taken to keep the story moving briskly, which may annoy some who prefer courtroom dramas without all of the contrived thriller elements.

His story is moving, although being a novice without any experience or even a college degree was still a hindrance in shopping the script idea around.

Sicario 2: Soldado moves to tell a continuation of that story, but without the defining features that made Sicario so great.

The story is a complex one with a lot of moving parts, which Carter keeps ticking cleanly along without oversimplifying, although some details could have been fleshed out more.

His story is told in a documentary titled, No Day But Today, which is broken into five - parts: Days of Inspiration (Jonathan Larson's formative years: childhood through college), Leap of Faith (Larson's move to New York City and the projects / experiences that led to the writing of Rent), Another Day (the creation of the musical Rent from conception to final dress rehearsal), Without You (an account of the show's amazing journey from success Off - Broadway to its current status as worldwide phenomenon, all in the wake of Jonathan Larson's untimely death), and Over the Moon (the making of the movie and a tribute to Jonathan Larson).

Yes, the story adapts to you, but at the same time, it feels strangely distant, as if the story would be moving on with or without you.

Director Trey Edward Shults thrusts viewers into a situation without explanation, but enough facts become clear as the story moves on.

In the psychological horror film It Comes at Night, Director Trey Edward Shults thrusts viewers into a situation without explanation, but enough facts become clear as the story moves on.

The Design section is filled with artwork that happily plays for you in moving reels, set to Toy Story 2 score, without requiring pesky remote control work.

«The Secret Life of Pets» is «Toy Story» with things that can actually move on their own in real life, but without the humanity.

1 slows down to let the story breathe without losing the simmering energy that keeps it moving purposefully towards its appointed end: the showdown between the blood - spattered Bride (Uma Thurman) and the man who very nearly killed her.

The primary benefit of moving the action forward «millions of years» after the asteroid near - miss is having Arlo interact with Spot; otherwise, Pixar could've basically told the exact same story — which echoes The Lion King more than once — without setting it in an alternate universe.

You can almost hear the screenwriters» wheels spinning, entirely unsure of how keep the story moving along without shortchanging the audience.

The Secret in Their Eyes is moving, and occasionally shocking, and knows just how long to linger lovingly on its finely drawn characters and their story without overstaying its welcome.

At the even indier end, we have had Rian Johnson's Looper, which managed to tie all manner of time - travel - related knots without losing the viewer, and threaded a moving love story through it.

Coming into any sequel blindly can make that experience tough to sit through without getting too confused or losing interest; fortunately because this is a feel - good movie and the ensemble cast has strong chemistry — it wouldn't surprise me one bit if half the time Terrence Howard isn't even in character while cameras are rolling — the story actually moves along at a comfortable pace, enough to make certain loose ends easy to ignore (again, if you're coming in without seeing the original).

This movie is not completely without tears (you may in fact need a large pocket stuffed with tissues) but the story is as powerful as it gets and the performances are incredibly moving.

His inability to imagine an original story — to move an audience's basic aspirations without guilt — is another sign of decadence.

ADVANCE PRAISE «A moving, modern meditation on loss and renewal, The Shimmering Go - Between is recommended for readers who want innovation and whimsy without losing the heart and soul that makes a story resonate long after it's been read.»

How To Survive Your Puppy's Chewing Without Moving Out I'm sure you've heard the awful stories about raising a pup and all the chewing that goes on from the minute you bring her home until when?

I hope this story and its warnings about targeting certain breeds, while allowing owners to behave recklessly without consequences, is something cities like Aurora, CO can learn from as they work to move forward.

• A unique and dynamic combat system — each move is also an attack • The ability to individually equip * each * fighter in your army • A large selection of weapons, spells and abilities, including the option to use mounted units • Diverse upgrade trees, and each unit level up provides cosmetic changes • An intriguing non-linear story • A distinctive game world without common fantasy cliches • Over 50 hours of gameplay within the game.

Without going into further detail, Seasons «story is enough to move from one beat to the next.

These are powerful and moving experiences that are being erased in the minds of gamers every time a critic picks on Mass Effect for example, without remembering that Mass Effect was the story of sacrifice for the betterment of others.

-- Nintendo previously made Zelda games by making small areas and connecting them together — For Breath of the Wild, the team first had to figure out what needed to be placed on the map — Groups were created out of the over 300 devs to work on specific sections of the world — Game Informer's demo starts at Serenne Stable — Yammo runs this place — Link can rest in bed and restore health here — Stable also lets you store horses, meet with merchants, NPCs — Stables are located throughout the world — Each one is run by a distinct character — You can spend rupees on a more expensive bed, giving you an extra heart the next morning — These hearts are yellow and can't be recovered if you're hit in combat — Spending time by fires in the world passes time — Dynamic weather system in the game, with the world reacting as a result — Ex: when it starts raining, NPCs outside the stable quickly go inside — Beedle is back to sell you goods — Have to be careful during a thunderstorm, since your metal items can attract thunder — Metal weapons and shields can be discarded or thrown at enemies — Link can get killed by lightning — Difficulty dips / spikes depending on where you are, since you can go around it and avoid it until you're stronger — Over 100 Shrines — You can find an item that identifies Shrines — Discover a Shrine for it to be a fast - travel point — Shrines also give a Spirit Orb — Trade in orbs for unknown items — Dedicated team handled animal A.I. — Bears, wolves, deer move through the snow — You can get overwhelmed by enemies quickly — Link can keep multiple horses at a time — Affection / loyalty important with horses — Feed and take care of horses to raise their stats — Can call horses over to you, but horses need to be within a certain proximity to be called — Horses can be killed by enemies — Aonuma «wanted players to choose their own path», so no companion character in this game — Stamina meter encopasses sprinting, paragliding, climbing — Meter can be upgraded, but Nintendo won't say how — Different shields have different speeds and level of control for snowboarding — Can mine rocks which can be solid for rupees or used for crafting — Can place stamps to mark areas of interest — 100 of these symbols can be used on the map, including sword, shield, bow and arrow, pot, star, chest, skull, leaf, diamond — Every style of weapon has a unique set of animations and feel different — No invincible weapons in the game, Nintendo says — Zelda can get mad at you and scold you — Players can see the ending without seeing everything from the story — A certain element was added in the game to make for a more cohesive storyline — Most difficult Zelda game to make — Aonuma is still finding new things in the world

Personally I would rate it a lot less as they could make use of the right stick and make shooting with R but instead u move and shoot without being able to just aim which is needed in majority of the game and it adds a bs element to the game but great visuals and frame rate with good soundtrack and story

The development team is not only one of the pioneers on how to make a graphically fantastic looking game, but also they're one of the best storytellers around because they have the ability to express and move the story forward, without the need of any words.

The story shifts back and forth between two incompatible extremes without exploring the potential for a middle ground, and one thing players of Call of Duty and Grand Theft Auto undeniably learn from those games is that a moving target is harder to hit.

There's also a neat Story Assist feature that lets you perform powerful special moves without having to worry about complex commands.

Do you especially like playing games without having to move from exactly where you are seated reading this news story?

The dialogue is presented almost entirely through text menus with only small samplings of voice work here and there and the story moves along at a plodding pace without much progression.

Electronic Arts probably based that evaluation solely on its own experience — indeed, if we consider games by EA, we'll see that years have gone by without a major game from the Redwood powerhouse that would offer a captivating and moving story.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

My point is that a person can't make a credible story about energy balance without worrying also about mass balances of vapor leaving the surface and also salinity moving between the surface and depth.

The employee can move on with his or her life without reliving his / her story or fighting with the employer for years.