Sentences with phrase «not narrative sequence»

This is a true hypernovel, 100 chapters connected by clicking links, not narrative sequence.

Not exact matches

As a transcript of a living community tradition, the Gospel of Mark relies not only upon the early passion narrative and the oral records of Jesus» life and teachings, some of which may already have been gathered into little collections, sequences, groups of sayings; it relies also upon the apostolic experience which supplemented and interpreted those traditions.

I don't protest the order of the chapters but suspect, along with a lot of others who've worked this through, that this Cave narrative was originally independent of the sequences of the drought in 17 - 18.

It is not strange, then, that the narrative, concentrating on the theme of the relationship between Israel and the Lord, pays relatively slight attention to such «practical» matters as route of march, identification of places, and even sequence of episodes.

If we give literal, historical credence to the narratives of Israel's approach to the land, we can only wonder whether the present sequence is not disordered, with the conquest of Ammon to the north of Moab, and still further north, Bashan (vv.

And although the movie suffers from a rather anticlimactic final stretch - the narrative peaks with a fantastic crash sequence that leaves one of the protagonists badly injured - Rush ultimately stands as a satisfying biopic that gets the job done efficiently and without much fanfare (ie Howard clearly isn't looking to reinvent the wheel here, so to speak).

While she keeps the action hopping from one flash point to the next and cooks up a couple of exciting sequences in the last 30 minutes, she doesn't develop the narrative momentum needed to sustain a two - hour story.

Fortunately, the movie doesn't feel like an overextended sketch though it does have its narrative detours that dawdle (a celebrity drug deal is padded out with far too few jokes), running jokes that hold on for a beat too long and then some (the George Michael fascination culminates in a drug sequence that does absolutely nothing), and there are missed opportunities that seem obvious (Key using his new gangster friends to intimidate a man making advances on his wife).

The inclusion of a few standout sequences (eg Charlie confronts Hans» dying wife) generally compensates, as does the effectiveness of the various performances (ie Rockwell has never been more entertaining), but the film doesn't wholeheartedly begin to engross until around the one - hour mark - after which point the narrative's escalating momentum becomes more and more difficult to resist.

Like most of the supporting characters, Holmstrom doesn't add much to the narrative, but his presence is the rationale for turning some of the scenes into Punk - style drawings or animated sequences; these are among the ways the director thumbs his nose at literalness.

The powerful dystopian imagery itself (both displayed and evoked through description) is not easily forgotten — particularly the prologues and opening sequences, nor is the idea behind the films, or the many paradoxical narrative loops.

The movie isn't perfect — Daniel Brühl's villainous Zemo is underserved, and the filmmakers ignore a key argument in favor of the anti-registration side — but it does such a good job of balancing the emotionally - charged narrative with some excellent action sequences and fan service that those flaws seem trivial in comparison.

The opening sequence is breathtakingly edited, combining past present and future into a coherent narrative that doesn't follow any kind of logical order.

The performances of the young cast are very natural, and Sloma is perhaps the standout: she is given the opening and closing sequences as well as at least her share of the interwoven narrative, but the film couldn't work without her confident portrayal of a young woman on the verge of maturity.

A characteristic surge of images is the sequence that begins with the departure of Bill (Richard Gere) with the circus performers and ends with the time - lapse image of sprouting seed; there is no dialogue, save for the offscreen narration, no narrative content, and no continuity, but only the overwhelming power of the images which have not degenerated into «signs» or «symbols».

While this film certainly does break some new ground from a cultural level, this entertaining action flick also feels a little too big for itself at other times because as well done as the narrative and storytelling aspects of this film are executed, occasionally the action sequences don't...

It's not the most elegant narrative ever, unravelled in fits and starts and constantly interrupted in favor of another action sequence, but it gets the job done well enough.

Jurassic Park III ultimately falls right in line with its immediate predecessor, as the film, though equipped with a handful of effective sequences, simply isn't able to carve out a place for itself as a legitimately necessary followup (ie there's nothing within the narrative that advances the Jurassic Park story as a whole forward).

Reitman and Cody aren't especially interested in a narrative that's about a woman rediscovering the joys of family life — or, for that matter, one that's about a woman casting off those shackles, despite a late - movie sequence where Marlo and Tully tear it up in the former's old Bushwick haunts (complete with the perfectly and silently observed rigmarole of driving into Brooklyn from the suburbs even when there's not much traffic).

Theron, McAvoy, Boutella and John Goodman all turn in fun performances, but they're forced to do so much heavy narrative lifting that not even dazzling sequences like a hotel room shootout register with viewers as exciting.

Additionally, Wright uses flash - back and - forward as well as fantasy sequences to build a not entirely linear narrative that enhances the emotion the audience feels for the characters and their plight.

In fact, it comes across as a movie that's somehow all connections and no sequence — at least, little coherent narrative, not as we usually understand coherent narrative to be.

The sequence doesn't quite fit in with the narrative of the rest of the film, save for the fact that its rapid - fire pacing keeps the film moving.

That goes not only for its approach to characterization, but just about every narrative aspect of the work — from the way Baker develops his larger plot to how he sequences his shots, carefully upholding its characters» sharply divisive existence.

David Koepp's script is also repetitive in a way the other two films weren't; while the comparative paring down of the plot into a largely straightforward chase narrative is admirable, the non-stop sequence of «Leads run from bad guys to place > find next clue and explain it to each other > bad guys come back and shoot at them, so leads run while continuing to explain» becomes incredibly tiresome as the film goes on.

Characters, relationships, and narrative get hurled at the audience just as aggressively as the film's many action sequences, and you're either engaged with the characters and stakes or you're not.

He could not say that it was the cause, could not say, even, that it was a cause, because the events that followed seemed to be both inevitable and entirely random, and although he could piece together a narrative sequence and take a kind of comfort in that, he had changed sufficiently by then to realize that it was only a story he could tell, and that stories were not, on the whole, to be trusted.

Peter Hogan's comic for Electricomics, Cafe Amygdala, which involves heavy reader interaction for choosing the narrative's direction, will not even be presented in a «sequence», Leah Moore said.

It was the desire to see what happened to Arno that kept me wanting to move the narrative forward, though Games TM are quite right in pointing out that it can often feel like a sequence of scenes that don't belong together.

The story missions are all based on sequences from the films with only a little narrative exposition to introduce them and not much else to connect them.

Not only is this a pitch - perfect update to the formula set up by Metroid and Castlevania, combining mechanical satisfaction with tear - jerking narrative sequences, it's also quite probably the best - looking 2D game of all time.

They're characters who you often don't want to play as or play with and with voice acting that you need to switch over to a foreign language in order to tolerate it, it makes for narrative sequences that you just want to skip your way through.

After a pretty fun and quite long Minecraft: Story Mode Season 1, Telltale returns to the world of Minecraft with Episode 1 of Season 2 [Free], and although it has some fun new ideas, I wasn't too crazy with the direction of the narrative and, especially, with the decision to add complex fighting sequences in a game that can barely handle simple swipes.

You could argue that this is intentional, that by stripping everything back players are forced to focus on the main narrative (and Square Enix itself has claimed this), but the fact is that this long stretch simply isn't fun, and accompanied by an omnipresent villainous voiceover which regularly repeats lines, the whole sequence feels rather rushed and cheap - an afterthought to the lush, exciting open plains of Leide and Duscae.

With no preset narrative and no specific protocol sequence, everything is a mix of past, present and possible, across multiple circuits: «The news, amazon.com, a make - up tutorial, a movie trailer, fake or real, a Benjamin essay, a French - English dictionary, some porn, our most private correspondence, a fashion photography book, an art magazine, yet another funny cat video all appear together and interchangeable — not to mention our music, photographs, texts, contacts and other material stored in other programs.

«Not a narrative, not a sequence that has some sort of teleological direction to it — verse, chorus, this, that, and the othNot a narrative, not a sequence that has some sort of teleological direction to it — verse, chorus, this, that, and the othnot a sequence that has some sort of teleological direction to it — verse, chorus, this, that, and the other.