Sentences with phrase «sequence near the end»

Ahead 1 - 0, the Avalanche tacked on another goal during a remarkable sequence near the end of the second period.

Describing the sequence near the end of the first half when Liverpool conceded the equalizer, the manager was almost speechless.

Garudasana is usually sequenced near the end of the standing pose series.

Viparita Karani is usually considered to be a restorative pose, sequenced near the end of either a restorative or active practice.

Leatherface went through a series of additional shoots and it looks like this sequence near the end may have been included.

There's some rough, maybe intentionally crude effects or CGI at one point of the action sequences near the end where a cabin explodes.

And there's a sequence near the end that feels like the seed of a far richer, stranger sequel: a sendup of the corny «inspirational» TV movies that viewers of a certain age will remember all too well, in which a character overcomes a handicap after years of feeling sorry for himself.

Save for one sequence near the end, all of the violence in the film remains off - screen.

Ashby captures this tension in a brilliant sequence near the end of the film, when Copee, who is threatening Elgar with an axe after learning that his wife is carrying Elgar's child, stops and slowly lowers his weapon.

A sequence near the end of the movie is clearly a good example of this.

And one giant weakness in the film comes in an info dump flashback sequence near the end, when Simmons» character tells a revealing story about his past.

Not exact matches

The initial location of the April 1 earthquake places the event near the northern end of this seismic sequence.

In the new study, the researchers show that Stau2 binds specifically to a so - called intron sequence found near the end of a specific subset of mRNAs — in a region that contains no coding information, but serves a regulatory function instead.

During this 2 - week period, seismic activity had, in general, moved northward; Tuesday evening's magnitude - 8.2 temblor was centered near the northern end of this seismic sequence.

And seriously, what kind of a film has tons of repetitive driving / chase / race sequences only to end with another one that's not anywhere near as ambitious as some of the ones before it?

References to older films of the genre, witty dialogue (including a monologue delivered by Carradine near the end that is probably the best thing Tarantino has ever written), extreme violence, a soundtrack filled with all kinds of extraordinary pop songs; even an entire backstory sequence completely done in Anime.

Marginalized in the initial sequences was Reeves, the lone actor well - known in the U.S. Universal opted to reshoot a major fight scene near the end of the film, as well as a few other scenes to sharpen the focus on Reeves» character Kai.

There's a revenge plot to sabotage a rally Vivian's holding, and the movie even introduces a randomly pregnant character near the end of the second act, just so the climax can involve an extended birth sequence.

The cinematography was amazing, especially near the end of the film during a mirror sequence very reminiscent to Bruce Lee's Game of Death.

But there are wonderful sequences strewn throughout, like the moment when Lazhar, at a school dance, begins to slowly sway to the music as if in a trance, and the scene near the end when Simon's pent - up guilt and rage and sadness frighteningly erupt.

Because almost every scene or sequence tells an individual story and the one overriding constant is something understandable to damn near anyone (really wanting something for Christmas), the film becomes a kind of endless Moebius strip, an eternal December that can begin and end at any point but always returns to Ralphie peering in that store window and always concludes with the boy lying in bed, cradling his gun.

A rather uneven sequence of cues follows this, mixing the various styles heard along with some surprisingly conventional animated action sequences, which finally gain a real focus near the end in the somewhat John Powell - like «Run with the Herd», a fluid and very entertaining piece.

It comes alive again in two other near - silent sequences: when she buys the eponymous incriminating letter and at the end, when the moonlight motif returns in a sequence that anticipates Jacques Tourner's I Walked With A Zombie.

one would guess that if people took conventional / sane approach that they would own far less stocks at the end of a 30 year sequence of returns (as they are nearing retirement).

What they are attempting to do is entirely admirable, and at times they succeed throughout the 3 - hour runtime, especially near the end with a few wonderful sequences and story beats that hit home with a sledgehammer made of feels, finally getting me emotionally engaged in a way that the opening hour couldn't.