Sentences with phrase «opening sequence set»

Even with two - time Academy Award - winner Christoph Waltz as the central baddie, even with an opening sequence set during the Day of the Dead featuring an absolutely flabbergasting tracking shot helmed by cinematographer Hoyte Van Hoytema (The Fighter), it's astonishing how little of interest actually takes place.

When the death of a porn star named Misty Mountains — seen in the film's gloriously funny opening sequence set to the beat of the Temptations» «Papa was a Rollin» Stone» — unites the widowed March and divorced Healy in search of another adult entertainer, the missing Amelia, the duo enter a sprawling maze of shady power structures and dead stakeholders.

He's alive because he's attentive and wary and trusts no one, even those he ostensibly loves, and he proves his ruthless survival skills and survivalist instincts in the crisply - executed opening sequence set in the snowy wilderness of what should be a far - north retreat from his brutal world.

A brief opening sequence sets up the basic story of the game, which has you framed for the Empress's murder and imprisoned in jail.

Not exact matches

Not only has SynBERC set up an open - source system for sharing DNA sequences and the basic components of synthetic biology, but stretches of synthetic DNA can now be ordered over the Internet at relatively low cost.

In general, a sequence like this opens with simple warm - ups that set a theme for the practice, intensifies to more challenging postures, slows to cooling postures and ends with relaxation (Corpse Pose).

The game opens with a narrated sequence setting the scene of the player character, Peter York,

Joy doesn't work entirely, and the structure set up so clearly in the opening sequence is dropped early on for no apparent reason, but I'll be damned if I didn't get carried away at the story of a mop sweeping the nation.

Visceral action (including an opening sequence that masterfully sets the tone for the rest of the film); a sharply written and directed script; rich, dynamic characters; and, as promised, the world's cutest cat (other than yours if you have one) combine to create a gut - busting, endearing, salty - sweet, and highly re-watchable comedy.

That said, it delivered a few dynamic scenes — like an opening war sequence — and gave us a good feel for the different settings.

Like its predecessor, Inglourious Basterds, the film's opening sequence places Quentin Tarantino's loquacious script in the capable hands of Christoph Waltz to set up an elaborate deception, making purposeful use of Elmore Leonard-esque dialogues.

The opening sequence was funny, but painful and set the wrong tone for the entire movie.

with an in - his - prime George Lazenby, a beautiful Venice setting, and an incredible opening credit sequence with an eerie Morricone soundtrack featuring a children's choir.

They depict an alternate opening starting with funeral preparations, a black and white sequence set in 1948, and an alternate ending using period footage.

I wasn't exactly encouraged by the opening sequences of Tank Girl, a spin - off of a British comic book with a postapocalyptic setting.

Instead, Dredd is a small - scale introductory escapade — outside of an opening chase scene and the sequences set within the Grand Hall of Justice, the film confines itself within the concrete interiors of Peach Trees.

The tone is set by an enthrallingly, expensively ludicrous opening sequence, set in Mexico City on the Day of the Dead, that ranks among the great 007 intros.

The action here is over the top, which sets a tone that the film is going to be a violent cartoon, but it never tops the insane sense you get from this opening action sequence.

Simmons is an internationally known artist with work in the Guggenheim, the Museum of Modern Art, and the Whitney, which is the setting of an opening credit sequence that shows Ellie wandering through an exhibit of others» work.

The opening sequences are mainly dialogue - driven and tend to require a boost in one's volume setting.

The opening sequence has an impossibly large spacecraft, though not doing the exact same thing that the Millennium Falcon did in its first screen appearance, a scene in a cantina where many strata of society and species meet while music fills the air, and a sun (only one) that sets with the same desolate glow on a desert planet that we first saw on Tatooine when Luke Skywalker (Mark Hamill) lived there.

Extras include a six - minute behind - the - scenes featurette whose highlight is star Wilson suiting up for a pre-production supersonic flight; seven deleted or extended scenes — among them odd alternate opening and closing title sequences — with optional commentary from director Moore and editor Paul Martin Smith — these trims carry a viewer discretion warning, for they would've threatened the film's PG - 13 rating; a fantastic, largely CGI pre-visualization (with, again, optional Moore / Smith commentary) of the virtuoso ejection set piece that at times gives Final Fantasy a run for its money; the teaser trailer for Spielberg's upcoming Minority Report; and two engrossing full - length commentaries, one by Moore and Smith, the other producer John Davis and executive producer Wyck Godfrey.

However, plenty of scenes still mark Age of Ultron out as one of Marvel's superior efforts, including a kinetic chase sequence set in South Korea and the electrifying opening scene which reminds audiences exactly why we love seeing all of our favorite Marvel heroes fight together in one place.

The opening sequence of «Megan Leavey,» setting up Megan's life «before» is no longer than five minutes.

From the very beginning of the film Fincher sets the tone with a brilliant opening titles sequence that projects dark and twisted techno - punk imagery to an adrenaline fueled cover of Led Zeppelin's «Immigrant Song» produced by Trent Reznor and Atticus Ross with vocals from Karen O from the band the Yeah Yeah Yeah's.

The necklace style is first seen being worn by Killmonger's father, N'Jobu (Sterling K. Brown) in the movie's opening sequence in Oakland, CA, which is set in 1992, thus also coinciding with Tupac's fame at the time.

The pre-credits opening sequence, set in Mexico City during the Day of the Dead festival, is reportedly the most ambitious they've ever done, with stop - offs in Italy, Austria and Morocco.

Declaration of War announces itself in a nifty opening sequence as Juliette meets Romeo at a party and they set off on their romance with an impressively edited tracking shot through the streets of Paris.

(Colours in the film's opening sequence were so conpicuously lush that I started checking the settings on my TV before I realized they were graded to resemble Kodachrome home - movie film.)

Bay had me hooked with a fabulous opening sequence that deftly cut newsreel footage of Kennedy to set up the premise of the story.

Toying with the notion of opposites and convergence, the selfless acts of burly Banning set against a nation divided by ideology prove pivotal to the plot, especially in the Yuletide opening sequence that involves the presidential cohort in an horrific motor accident.

Instead of actually fulfilling the oh - my - God - this - is - awesome momentum set up right from the opening sequence (a delightful 5 minute short film in its own right) by hunkering down and making the story, ultimately, work, he relies almost entirely on smoke and mirrors: throwing whiz - bang - eveything - but - the - kitchen - sink - razzle - dazzle to keep us distracted.

Any hope that «Warcraft» would be the first great video game adaptation is promptly squashed within the opening 30 minutes, and it only gets worse from there as the audience is forced to suffer through the convoluted plot (including an unearned romance between Lothar and Garona), a clunky finale that's more interested in setting up future sequels than providing a satisfying conclusion, and a handful of unmemorable action sequences.

While setting up the scene in the opening sequence, Whedon also gives us one of the biggest, most explosive fights in the whole movie.

The opening sequence featuring outlaws Purvis (David Arquette) and Buddy (horror vet Sid Haig doing his best Slim Pickins imitation) sets the stage for the brutal violence to come in the third act, as well as the film's crackling dialogue that's clearly influenced by The Coen Brothers, Quentin Tarantino, and Elmore Leonard.

In the latter half of the movie, when the Dude is slipped a NyQuil cocktail, he falls into a dream patterned after the opening sequence of a flamboyant softcore porn / bowling movie musical (Gutterballs, it's called) set to the tune of «Just Dropped In (To See What Condition My Condition Was In)».

Set to the backdrop of the Detroit race riots, the film's opening sequences paint a striking picture of a city in violent chaos, but its broad scope soon gives way to a more focused telling of police brutality against a small group of youths.

Bonus features include a commentary track with director Julie Anne Robinson and co-producer Jennifer Gibgot, a behind - the - scenes set tour with young co-star Bobby Coleman, an alternate opening sequence, deleted scenes and not only the music video for «When I Look At You» by Miley Cyrus, but a making - of featurette for the video.

Its pace, however, is confounding, starting with the opening Dawn of Man sequence, set 4 million years ago among tribes of proto - humans who are enlightened by the appearance of a mysterious extraterrestrial monolith that teaches them to use bones as tools.

It opens with a speeder chase through a dingy tunnel, segues to a sequence set on a twilit smoky battlefield, and the big moment when the Millennium Falcon is first revealed (as the «Star Wars» theme swells majestically in the background) takes place in an inky cave.

The irreverent opening credit sequence sets up the tongue - in - cheek film that is to follow perfectly; the somewhat sentimental Cooper font, bubbly in appearance and forever associated with the Beach Boys» Pet Sounds — how's that for nostalgic?

Evan's story begins with a fascinating opening credit sequence setting 1940s - era footage of nuclear testing, and a water - cloaked Godzilla, behind the names and titles of those involved with the production.

Comparisons with «2001» arise from the opening sequence, partly because it looks like a spaceship docking (it isn't) and partly because it sets a tone of mystification that's never dispelled.

This opening sequence, which takes place on a fast - moving train that matches the action on screen, was great to watch and set the bar for the rest of the film.

From an opening sequence in a haunted house with an intricately constructed soundtrack to a high - tension, cat - and - mouse game on a trip from Paris to London and back set entirely to text messaging, Personal Shopper brings the psychological and supernatural thriller into the digital age.

The movie opens with a knockout action sequence, set aboard a space station that's been overtaken by a gargantuan lab rat.

However, it is worth noting that the movie reintroduces us to these absurd characters through a ridiculously hilarious dream sequence involving cameos from Seann William Scott and Damon Wayans Jr. that comes across as the perfect tone - setting opening for anyone that missed out on Super Troopers.

The opening credit sequence, in which aging scientist Weyland (an uncredited Guy Pearce) discusses origin mythology, art and classical music with his creation, «Walter» (Michael Fassbender) in a sterile setting which may or may not be a memory implant of the android, establishes what most engages the director.

Quite a twisted little set - up, and from the opening sequence, director Juan Carlos Fresnadillo (Intacto, 28 Weeks Later...) peppers the film with some very tense and scary scenes.

That opening sequence that begins with the callback to Sherlock Jr. features not just a car and motorcycle chase through Times Square but also a massive set - piece in which cars are flung around inside a spacious warehouse like two - ton hockey pucks, disabling other mechanical targets and sending human ones airborne like rag dolls.