Sentences with phrase «on death sequences»

Not exact matches

Here we analyze the GTEx21, 22,23,24,25 RNA - sequencing data to investigate the impact of death and the post-mortem cold ischemic interval on the transcriptomes of human tissues.

Today starts a three - week video series on the elegant sequence of experiments I highlighted in Uprooting the Leading Causes of Death, but didn't have time to fully explore, so I'm so excited to finally be able to go more in depth.

Enjoyable threequel which delivers handsomely on the demands of the franchise: an attractive cast, inventive direction, a dark sense of humour and increasingly nasty death sequences.

In between each death - defying sequence, Sam puts the moves on Laura (Emmy Rossum), the hot chick on his academic decathlon team.

If you're the kind of moviegoer who got restless during the more dialogue - heavy sequences of «Death Proof» or «Reservoir Dogs,» you may find that there's too much talk and not enough action in a movie that teeters on the three - hour mark.

Some of the other extras are more production - based, like the location featurette «James Bond in the Bahamas,» an in - depth featurette on filming the sinking palazzo sequence («Death in Venice»), and storyboards for two of the film's big set pieces.

An exclamation point sprouts from the heads of alerted enemies; lengthy codec conversations and cinematic sequences punctuate the action; bosses yammer on and on about political ideologies before dueling you to the death; and you can even hide in boxes to stay hidden from foes.

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.

by Walter Chaw The mermaid effects in a nasty little sequence that falls around the midway point of Rob Marshall's disastrous, deadening Pirates of the Caribbean: On Stranger Tides (hereafter Pirates 4) are the only thing to recommend about this death march, and even those are almost too dark to make out.

It's terrifying, in other words, even when you can't process what's going on, because of the perspective afforded by its aerial shots of Yanks fire - bombing a civilian population — an acceptable war crime in Dresden and Tokyo, lest we forget — followed hot by chemical warfare in a sequence of flight from slowly - encroaching death that pays a sort of literal homage to Romero's shambling legions.

The end credits contain a moving sequence of photographs of the two real - life women, who carried on living together for decades after Marston's death.

In Kidnap, he's maybe going for the relentless rat - tat - tat of late - period Tony Scott; there are some swirly camera movements, death - by - a-thousand-cuts sequences of cars flipping over, and even some fake flash frames added to an establishing shot to make it a little more Man On Fire.

Special Features: • Brand new 2K transfer from the original camera negative • High Definition Blu - ray (1080p) and Standard Definition DVD presentations • Optional English SDH subtitles for the deaf and hard of hearing • Audio commentary with co-writer and producer Mardi Rustam, make - up artist Craig Reardon and stars Roberta Collins, William Finley and Kyle Richards • New introduction to the film by director Tobe Hooper • Brand new interview with Hooper • My Name is Buck: Star Robert Englund discusses his acting career • The Butcher of Elmendorf: The Legend of Joe Ball — The story of the South Texas bar owner on whom Eaten Alive is loosely based • 5ive Minutes with Marilyn Burns — The star of The Texas Chain Saw Massacre talks about working on Eaten Alive • The Gator Creator: archival interview with Hooper • Original theatrical trailers for the film under its various titles Eaten Alive, Death Trap, Starlight Slaughter and Horror Hotel • US TV and Radio Spots • Alternate credits sequence • Reversible sleeve featuring original and newly commissioned artwork by Gary Pullin • Collector's booklet featuring new writing on the film, illustrated with original archive stills and posters

One of Ladd's chief creative notes on viewing the Outland workprint, according to Hyams, was to call for more gore in the movie's death - by - elevator sequence.

The Hills Have Eyes 2 doesn't scrimp on the graphic dismemberment and evisceration, imagining some very creative and gruesome deaths for the attractive cast, including one sequence that brings a horrific new meaning to pulling someone's leg.

But this LFF screening means you have no excuse to miss this grotesque picaresque about parental responsibility which features perhaps the funniest assisted death sequence ever laid down on film.

From the encouraging opening sequence, This is Your Death goes downhill very fast as is piles on one preposterous scenario after another.

There's a stunning dance / dream sequence, some beautiful shots of the landscape (including the titular body of water) and a one of the most heart - breaking scenes ever as the family sits down to dinner after an unfortunate death (daughter asks mother: «So we just go on as if nothing has happened?»

An early bit featuring X-Force leader Cable, and an extended sequence featuring Deadpool's on - again / off - again love interest Death are of particular note, though these moments of goofy inspiration seem almost alien compared with the rampant idiocy and braindead gameplay throughout the rest of the game.

Furious 7 Rated PG - 13 for prolonged frenetic sequences of violence, action and mayhem, suggestive content and brief strong language Available on Blu - ray and DVD In this seventh installment of the street racing franchise, the entire gang is back and under threat from Jason Statham who is determined to get revenge for the death of his brother who apparently died in a previous installment (I've seen them all but I honestly can't remember a single plot line).

Her strange, forced gaiety and victimised demeanour are brilliantly sketched out in the initial present - day sequences — and then, via a stunning closeup on her face as she narrates — we go back to Nazi - occupied Poland, and then, finally, further back, to the horrendous «choice» she was forced to make when she first arrived at the death camp.

«The Visual Effects of Zodiac» (15:15) isn't the most obvious supplemental inclusion, but while the film is far from spectacle fantasy, this piece reveals just how much effects work was required, from blue screen crime scenes and precise camera moves to fabricating a vintage waterfront and using CGI on gruesome death sequences.

She blames Regina for his death; if you leave the cinema before the end of the initial credit sequence you will miss perhaps the only humourous scene of the film, showing the mother enact her revenge on her son's killer.

It's an ingenious structure - though certainly will be labeled «exploitive» by many - as we're on edge during the entire final sequence at the Charlottesville protest, knowing that Heather's tragic death is literally right around the corner.

Interrogation scenes are intercut with elaborate dream sequences and vivid flashbacks as it becomes clear that Teddy's conflated his presence at the liberation of Dachau with the death of his wife and his mission on the island.

However — rather unsurprisingly, if you know what an onerous conundrum of uncalled - for incidents tends to surround Rick most of the time — due to an extremely unfortunate sequence of events, including but not limited to the vastly premature death of his Hollywood agent, a bitter though hilarious (to an external observer) dispute with his subsequent literary agent, the bankruptcy of his French publisher and other similarly torturous circumstances, Rick Harsch's tenacious infiltration of the world literary canon has been on a rather involuntary and undeserved hiatus of late.

Based on 50,000 ages of death for the second member of the couple, as well as 50,000 sequences of asset returns through each age of death, we were able to investigate the present value for the cost of retirement based on different asset allocation and product allocation strategies.

Focusing on the relationship between life and death, Final Fantasy features some interesting themes and actually aspires to be something more than just a mindless string of action sequences featuring some barely recognizable characters.

And, without all of that puzzle - playing experience, I don't think I would ever picked up something like Death Squared, or even appreciated its grade of humor and take on solving sequences of riddles.

Though the comic book - style sequences are decently drawn, they constantly drag on by showing Marian's death over and over, Billy's distraught rage over losing her (again played out with hilariously awful voice acting), and other eye - rolling sequences such as remembering the time he bought her a necklace or recovering her stolen cell - phone (with a bullet hole right on the screen showing another photo of the couple).

«Tragically» may be an exaggeration, as are the numerous cutscenes that hamper on the subject of Marian's death; while the original game was innovative with its controversial murder of the main hero's girlfriend at a time when fictional character deaths were uncommon in videogames (even the NES version did not skimp on this detail), Wander of the Dragons force - feeds you with endless sequences that make the subtle character death feel cheap and exploitative.

Gameplay slows to a crawl during action - packed sequences and on more than one occasion this directly resulted in death.

There are platforming sequences, but they're all essentially just bad QTEs — there are no explicit button prompts, but the passages are completely linear and every time Yaiba has to jump or grab a hook with his chain to swing around, the game goes to slow motion and the next step in his way flashes up, so there's no need to figure out how to go on and no challenge, really, except the deaths that arise from the game's arbitrary distinction whether it wants you to press the jump button to smash a wall in midair or not.

This struggle on the part of the artist to capture the sequence of ephemeral experience is not only the heart of Soutine's method, but also expresses his tragic anxiety, his constant brooding over being and not being, over bloom and decay, over life and death.