Sentences with phrase «multi-bracketed story moving»

Although I furrowed my brow a little in response to her conclusions, I did find Harris» story moving in several ways.

This story moved me.

The story moves toward its climax, Abraham acting with the same simplicity, austerity, and dignity as before: He built (the altar), laid (the wood), bound (Isaac his son), laid (him on the altar, upon the wood), stretched - forth (his hand), took (the knife) to slaughter his son (22:9 — 10).

That story moved me even more!

The story moves, in highly integrated progression, from beginning to the high tension of its climax and finally to the moving resolution of the plot.

Father Gabriel's narrative may have been an important plot point to keep the story moving, but it's a far cry from what you will find inside the walls of the average church on a Sunday morning.

Although it may make the news story move on — which was undoubtedly the intention.

The story moves along and more light is shed as it goes.

But as the story moves on, the Hamiltons slowly try to restore their marriage.

The story itself moves rapidly, yet on every page Schroth seems impatient to finish the business at hand so as to move on to the material that really interests him.

C — Wolters gets the start — and still can not hit 1B — Desmond already injured — McMahon is now 0 - 3 with 3 Ks and seems over matched 2B — LeMahieu with another solid game SS — Story moved out of the # 4 spot finally — still goes 0 - 3 but does not strike out at least 3B — Arenado had an off night with a couple Ks LF — Parra — nothing exciting CF — Blackmon hitting 2 HRs — Nazty was the offense tonight RF — CarGo seemed comfortable in the # 4 spot — let's keep him there UTIL — nothing exciting SP — Márquez pitched pretty well overall — 4 walks added to an already ridiculously high number thru 3 games though.

Your story moved me to tears.

Her story moved me to tears.

Your story moved me to tears, I am so happy you were able to comfort your daughter in one of the most loving and natural ways we have.

She recommends reading those «about» pages and letting their stories move you.

I thought the first issue moved fast and was very engaging, I'm looking forward to see where the story moves next.

The cinematography is exceptional and the stories move right along.

And the story moved me... it's a real wish - fulfillment fantasy that we all have about throwing it all away and trying out a new life.

Directors / screenwriters Kohn and Silverstein, who previously gave us «Never Been Kissed» and «He's Just Not That Into You,» do a fine job keeping the story moving in their feature directorial debut.

The unique concept of the novel and its futuristic setting was enough to keep the story moving.

The main aim of the pilot is to set the story moving in and it does pose some decent questions and ideas but it fails to make the episode enjoyable while doing so.

Unfortunately, the story moves at a plodding pace, and the game falls into more unfortunate strides of repetition than I'd hoped for.

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

The game is great, the campaign mode is clean and switching from autobot to decepticon is a great way to keep the story moving and the gameplay fresh.

The story moves from a space of weird family dynamic to two guys discovering companionship and eventually forming a bond that is the basis of family.

The story moves along briskly and colorfully but gets further and further from the intimate atmosphere that initially makes it so appealing.

I relaxed again as the story moved forward.

In its brief sojourn on the screen, A Ghost Story moves through centuries of geologic time and into the deepest recesses of the human heart.

The cast is solid, and the story moves along smoothly.

The story moves with dizzying speed to the Moroccan desert, Hamburg and Berlin, escalating into spectacular brawls, subway battles and bloody showdowns.

She does a strong job keeping the story moving and weaving different elements into a cohesive whole.

Why isn't the story moved along and we find out more about these characters as the movie plays out?

As the story moves beyond the prison walls, some blistering set pieces recall the quick fire bravado of classic Melville, and the brooding pyrotechnics of Jules Dassin's Rififi.

But while Greengrass excels at creating a sense of claustrophobic tension (especially once the story moves into the lifeboat, where he really ratchets up the suspense), it's the acting that makes «Captain Phillips» such a pleasure to watch unfold.

The sense of unease continues as the story moves to Pakistan where Dan (Jason Clarke) is busy trying to pressure information out of a detainee (Reda Kateb).

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

Most of the aforementioned metaphors are only teased, given a snippet of a scene before the story moves on.

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.

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.

Keeping the story moving is the first priority of the screenplay, so there are few opportunities to allow much depth to develop.

Nevertheless, once the story moves into the Indonesian jungle, the colors really start to pop.

The story moves quickly with Michelle (Mary Elizabeth Winstead) hastily leaving what appears to be a New Orleans apartment after discovering her husband Ben (voiced briefly by Bradley Cooper) has cheated on her (the wedding ring is pointedly left on the dresser).

Also, despite the story moving at a quick pace, it does run too long.

WHY: The fourth season of «The Walking Dead» may be plagued by many of the same problems as previous years, but while its tendency to let plotlines drag on for too long causes the show to grind to a halt at times, the renewed focus on keeping the story moving even when its characters aren't plays a huge part in its success.

As an ensemble drama, the story moves around between Don and Helen and other families who are somehow loosely connected.

Director Zack Snyder does a solid job of keeping the story moving along never letting the audience get a chance to question what is going on.

David Patrick Kelly pops up to keep the story moving along in a logical and orderly pace.

It feels like a video game as the kids run from one chase scene to another fetching objects — get the key, find the locker, get the Bible, break the code — advancing every time to the next level with little sense of a story moving forward, and leaving a gimmicky aftertaste given all the real - life squalor onscreen.

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