Sentences with phrase «nightmare sequences in»

David has a bit to do with the nightmare sequences in the game that act as seminal moments of discovery in order to push the plot forward.

In John Frankenheimer's classic 1962 movie thriller «The Manchurian Candidate,» we will be plunged into one of the greatest nightmare sequences in American cinema.

It's a strong theme, Shakespearean in scope, perfectly exemplified in one nightmare sequence in which Thorin, lost to «dragon - sickness,» greedy and jumpy, finds himself sucked into a monstrous whirlpool of thick molten gold.

Not exact matches

He is particularly exposed to rapid rises in gasoline prices, and if this occurs concurrently with stock market falls, then he could suffer a double whammy — think sequence of returns nightmare!

Repetitive DNA and similar sequences are a sequencer's nightmare because the sequence is generated in pieces that must be matched up correctly to figure out the order of the bases along each chromosome.

Some are beautiful (flowers growing out of deer antlers, people made of knotty branches) others are full blown nightmare fuel (a tapeworm sequence would not be out of place in Ridley Scott's Alien prequels).

Recall the painful sequence in 2015's «Avengers: Age of Ultron» when Scarlet Witch (Elizabeth Olsen) used her hypnotic powers to push the team into their deepest nightmares?

Farrands explains that the original opening of the film was to be a nightmare sequence that would've paid homage to Carpenter's classic opening scene, and he lays bare the Man in Black's intentions to sacrifice baby Stephen Lloyd and in turn transfer Michael's evil into young Danny Strode and then starting the cycle again.

But I'd like to see them work on the horror factor more both in gameplay and atmosphere... Also, I now noticed that Cybil says «take a shit», to get you ready for the nightmare sequence.

The sequence on the ship, in particular, is a vivid existential nightmare unto itself, as the Christians, hovering near death, believing they've been cursed, wonder what God has in mind for them — or if He even exists.

Add two dream sequences woven into the narrative with sinister subtlety, and it becomes apparent that the entire film plays like a projection of a male wet dream - cum - nightmare of a libido that knows no borders, leaving Sung - nam apologizing absurdly to his wife for things he said in his sleep.

In lieu of a discrete breakdown, the peaks: Spielberg admitting he'd be in favour of arrests on the basis of precognition were the system infallible; Kaminski referring to Samantha Morton as «kind of an angel»; Spielberg confessing he all but poached McDowell and his concepts for Mel Gibson's planned remake of Fahrenheit 451; Kaminski contradicting his collaborators» joy over the «spyder sequence» — a logistical nightmare from a cinematographic standpoint; and sound designer Gary Rydstrom divulging that the noise you're hearing from the Maglev actually came from his washing machinIn lieu of a discrete breakdown, the peaks: Spielberg admitting he'd be in favour of arrests on the basis of precognition were the system infallible; Kaminski referring to Samantha Morton as «kind of an angel»; Spielberg confessing he all but poached McDowell and his concepts for Mel Gibson's planned remake of Fahrenheit 451; Kaminski contradicting his collaborators» joy over the «spyder sequence» — a logistical nightmare from a cinematographic standpoint; and sound designer Gary Rydstrom divulging that the noise you're hearing from the Maglev actually came from his washing machinin favour of arrests on the basis of precognition were the system infallible; Kaminski referring to Samantha Morton as «kind of an angel»; Spielberg confessing he all but poached McDowell and his concepts for Mel Gibson's planned remake of Fahrenheit 451; Kaminski contradicting his collaborators» joy over the «spyder sequence» — a logistical nightmare from a cinematographic standpoint; and sound designer Gary Rydstrom divulging that the noise you're hearing from the Maglev actually came from his washing machine.

The most memorable sequences in Beast may be its depictions of nightmares, confidently blocked in anxious handheld, but the film doesn't twist itself enough for its images to ensnare the unconscious.

Most importantly, without Cuarón, it's hard to imagine Yates would have the freedom to make the Potter movies his own: to make the Ministry of Magic an automated nightmare straight out of Brazil; to shoot action sequences as loud and surprising as gunfights; to let Harry and Hermione dance to Nick Cave, even though it's not in the books, because it turns out that's just what the audience needs to see.

Ryan's rejected music for a nightmare sequence is also restored to the film, in a separately indexed extract.

Watch an inverted version of this sequence unfold as a nightmare in John Landis's An American Werewolf in London.

THE CRESCENT Featuring the best opening credit sequence of the year, and the most risque playing with audience tolerance, The Crescent is nonetheless a triumph in hallucinogenic nightmares in the vein of bonafide classics such as The Shining, Carnival of Souls and The Babadook.

In fact, the only truly scary thing about the game is how terrible the nightmare sequences are.

It's quite telling when the directors of a film that features the definitive parting of the Red Sea sequence and an unnerving hieroglyphic nightmare scene are most proud of a simple shot of a devastated Moses breaking down in tears.

Nightmare sequence includes depiction of ghosts in a graveyard, ghostly hands come out of grave and a jealous spirit demonstrates a threat to choke someone.

In the early Nightmare on Elm Street installments, the fear built around avoiding Freddy's razor - glove added some of that said suspense to the chase sequences.

It's still neat the way the sound design matches the circular pan in the first nightmare sequence, but the hyper - directionality is overkill thereafter and this disc unfortunately does away with any English - language mono option.

There are some terrifying sequences in which it's difficult to tell (at first) if they're real or a nightmare.

That 360 tank sequence was a dream within a nightmare but when Koba literally drags an unwilling soldier to his death, you realize that the dreams of revolution can only be written in bright red streaks.

The sometimes - neglected «Dark Passage,» by writer / director Delmer Daves, has ingredients that result in a noir rapture: Humphrey Bogart and Lauren Bacall leading a terrific cast (Agnes Moorehead shines as a shrew with a penchant for animal prints), a bizarre story, Franz Waxman's score, San Francisco locations and slick cinematography by Sid Hickox — including a nightmare sequence that is still unsettling 65 years later.

However, there's one nightmare later in the game that takes place in a dark prison, making this part an horror sequence that could have been easily taken out of a Silent Hill game.

Some copyright, the nightmare sequence was removed due to it being a demo that they threw in of another project etc...

The way the flight response is handled in Neverending Nightmares tries to emphasize the lack of control the player has, as well as boost the tension of a few chase sequences.

The beginning sequence in Crisis on the Planet of the Apes does a really good job of pulling the player out of their comfortable living room and into a nightmare world where they, cast as an ape that has gained intelligence, are viewed with intense hatred and disgust.

The wobbly «dancing» of Mario combined with his unblinking, lifeless face and the feverish neon filter over everything have secured a permanent spot for this sequence in my recurring nightmare schedule.

To its credit, Mutant Nightmare is a touch better than the last game, «Battle Nexus,» in that it doesn't force - feed you a gaggle of terribly clunky platforming sequences to try to keep things interesting.