Sentences with phrase «moving story moment»
It also doesn't tread any new ground or offer anything even approaching a moving story moment.
http://www.ludonarrativeassonance.com/ Not exact matches
Given that oil is down at the moment with the news out of Middle East, what would take oil to move materially to US$ 50 would be some supply outage coming out of this story, or a military conflict between Iranians and Saudis.
However, the reader who overcomes all the barriers that this book presents may find themselves unexpectedly touched and moved by the humility, love and moments of grace that the stories record.
Where I hope Wenger won't be «Wenger» will be to start playing him at Wing back, HE IS A DAMN GOOD ATTACKING MIDFIELDER AND HE IS NOT VERSATILE (in Yesterdays» game he scored 2 great goes the moment he moved to the AM position from the WB position — that tells you where home is for this talented young man) He will fit well across the front 3, end of story.
Current communications director Paul Rivera is staying on, but he's likely moving into a more limited chief of staff - type role, although there are two people with that title at the moment in Sampson's camp: Michelle Trotman, whose name appeared in a recent Times story on the leader's representation of a shady Queens real estate broker, Edul Ahmad; and Michael Cohen, who I'm told runs things in the senator's Brooklyn district.
Autistic children blinked right through those moments, suggesting they were not following the emotional arc of the story, but they responded sharply when an object suddenly moved.
As I get older, I am learning to accept that as my past and know that in every moment I can choose to move towards self - love instead of confirm the negative stories of my past.
The quirky script is packed with good lines and off - the - wall moments and the stories are surprisingly moving in places.
The Hunger Games is first and foremost an adventure / survival story, and director Ross keeps things moving with nary a moment of downtime.
From the moment it starts, you realisie that there are a lot of things that do not make sense and there is no connection between them but were just there to help the story moving on.
However, it's in certain moments that the episode prevails and Alex's subplot, Kara's exploration of what truly makes her a hero, and Sam's moment of realization are really the true elements moving the emotional story forward.
Director Daniel Monzon keeps the story briskly moving with several moments of unbearable and skillfully handled suspense and the fact that it avoids the usual genre conventions with many unexpected plot developments, helps in keeping you captivated and wondering what direction it will go in.
The result is a version of Tolstoy's story that moves at a breakneck pace with nary a moment diverted to any point or detail that does not have something to do with the central narrative or thematic content (Even the book's famous opening is missing, because, here, the individual trumps families — happy or unhappy).
His every move seems to have led up to this position, in this particular moment; it's Malcolm's story, but every fiber of the movie belongs to Lee.
The story takes time for intimate, hushed moments of genuine emotion, but always feels brisk and on the move.
But just as this set introduces us to what could be a riveting story, even the film's seemingly mundane details that might have given character and depth, such as Joe's quip about so - called T.K.'s (telekinetics) being «assholes who think they're blowin» your mind floating quarters,» are really only expository moments designed to move the plot forward.
Abbasi moved to Little Rock, Arkansas at age nine and uses his experiences to bestow the film with a depth and richness that transcends the present moment, creating a story that resonates on a dreamlike register.
But Donnie Darko also leavens these with moments of absurdist black comedy (never doubt its commitment to Sparkle Motion) as well as a surprisingly moving story about a family trying to cope with mental illness.
Against all odds, this sequel, «Star Trek II: The Wrath of Khan» (1982) would prove to be a critical and commercial hit and the scene in which Spock gives his life to save the crew of the Enterprise would prove to be a devastating punch in the gut at the end of its hugely entertaining story — the power of Spock's final moments with his friend Kirk were such that even those who had never seen «Star Trek» before were moved by it.
This is the biggest Marvel Studios film to date — the story plays out on a global scale and the main cast reaches double digits — but many of its best moments are small, throwaway beats: Bucky Barnes (Sebastian Stan), who is cramped in the back of a small car, asking a surly Falcon (Anthony Mackie) to move his seat up; a starstruck Ant - Man (Paul Rudd) so giddy about meeting Captain America (Chris Evans) he practically asks for a selfie; Scarlet Witch (Elizabeth Olsen) teaching the synthetic Vision (Paul Bettany) how to properly use paprika in a recipe; Tony Stark (Robert Downey Jr.) casually flirting with Aunt May (Marisa Tomei), to the alarm of her nephew Peter Parker (Tom Holland).
But it's also a moving story of friendship and hope, with unexpectedly funny moments (Nana's role in Patti and Jheri's big single is hilarious).
In much the same manner Bart Layton structured his incredible documentary The Imposter last year, Polley moves the story along with the best possible pace, releasing new bits of information at the exact moment they will have the most impact.
While there are intensity moments, the story doesn't move too quickly, and actually drags just a little bit in places.
In a smart cross-platform move, each spread is titled with the name of a Cash recording that matches the mood of the moment, adding a meaningful musical complement to the already moving story.
Usually, these stories include trips taken, embarrassing moments, brave actions, and bonding experiences — all the stuff that moves you through the teenager - to - adult transition.
+ Visually appealing and unobtrusive; moves organically through each story in a way that keeps you invested and in the moment.
Ultimate Jutsu moves are quite epic and there were a few moments during the story where cutscenes would break out during the middle of a fight for quick Quick Time Events (QTE) that involved button tapping.
The first half may move at a snail pace narratively, but it uses those hours of open world exploration to build an emotional connection between the player and the core cast of characters, a connection that helps make the game's big story moments all the more powerful when they arrive in its second half.
In fact, you can be done with the story — literally — the moment you take control of Ajay if you choose not to move from the table.
The moment Telltale moved into the episodic, point - and - click genre of game development, is the moment that it became the go to studio for telling a video game story.
moment when the portals open up over the countryside, but in general, you are doing something for some NPC to move the story gradually forward.
Moving from point to point can be an arduous experience, and sometimes the story also suffers from really slow moving moments that drag down the momentum of the Moving from point to point can be an arduous experience, and sometimes the story also suffers from really slow moving moments that drag down the momentum of the moving moments that drag down the momentum of the story.
Major moments for Breitz in 2017 included the Venice Biennale, for which she was one of two artists selected to represent South Africa (alongside Mohau Modisakeng); the inclusion of a new commission titled I'm Your Man (A Portrait of Leonard Cohen) in an exhibition titled Leonard Cohen: A Crack in Everything at the Musée d'art contemporain de Montréal; and the premiere of a major new video work, TLDR (this 13 - channel video installation is the sequel to Love Story), at the B3 Biennial of the Moving Image in Frankfurt.
Participation in the game is made up of small moments and fragmented interactions; a player may receive a strange phone call that introduces a clue to move the story forward, or find themselves breaking into a warehouse at night with a character to expose some sinister plot.