The Vanishing Of Ethan Carter is a narrative experience, as the game's
opening sequence depicts.
The opening sequence depicting a stagecoach hurtling across a terrain of blinding whiteness makes the most eloquent use of Robert Richardson's 70 mm Panavision cinematography and promises a wilderness epic, akin to this season's The Revenant, that never materialises.
Not exact matches
To call Early Man wildly anachronistic would be an understatement: the
opening flashback
sequence that
depicts humans and dinosaurs living side by side is but the first of its obvious and unclever bizarrities.
They
depict an alternate
opening starting with funeral preparations, a black and white
sequence set in 1948, and an alternate ending using period footage.
Think of the
opening sequence of the movie and the oft - used point of view shot,
depicting the killer's rampage on the unsuspecting teenage girl.
It is soon revealed that unlike the exciting
sequences of Tarzan where true peril was repeatedly threatened, Tarzan II's
opening scene actually just
depicts the wild child engaging in a bit of playtime fun with Terk (voiced by Brenda Grate), his savvy, sarcastic gorilla sidekick, and the red elephant Tantor (Harrison Fahn), who accordingly have reverted to juniority.
Chick
depicts the company's meteoric rise in an
opening credits
sequence and we never get a sense of the exultation and crazy riches of the two brothers as the company begins nor of the heady flim - flam atmosphere of that mad, insane blip in American business history when a guy and a computer could sit in his basement and make millions.
The film
opens with a black and white
sequence depicting adolescent Keith Richards and Mick Jagger teaming up on an English train.
After a collage - like, disorienting
opening sequence,
depicting a raid that began the several days of violent standoff in the city, «Detroit» slows down just a bit.
With that as its strategy, Love After Love is at its most uptempo in its
opening credit
sequence, which
depicts a picnic between family and friends on a crisp fall afternoon and deftly nestles revealing exposition within a slew of off - the - cuff character introductions.
The
opening sequence in Prototype for instance
depicts the execution of a nameless crying woman, her dress ripped suggestively to reveal her garter belt.
The diptych drawings, entitled The Blackhole of Love (2017)-- its title taken from the mis - translation of the film in Korean — are delicately modeled in smooth un-contrasting graphite,
depicting the sky in the film's
opening sequence.