Sentences with phrase «shoot off screen»

In order to move around the game world, you have to shoot off screen to move and use the side buttons to turn.

We have full regulation box lacrosse goals at every camp and introduce 2v2 pick series, shooting off screens, stop and pop shots, as well as an array of other box specific skills.

A soldier aims a handgun at the forehead of a 3 - year - old girl, but a teen girl tackles him and they scuffle, the man tells the girl later that she will wish he had killed her as soldiers enter with drawn rifles and capture the would - be shooter forcing him to his knees; he taunts his captor, who aims a gun at his forehead as the camera pans away and we hear a loud shot off screen.

Throw a few more heavy shots their way and they'll go shooting off the screen and lose a life.

The SGS7 edge has added pop due to its Super AMOLED panel, so shots off screen look a little flatter, and those curved edges make it a little tricky to use in landscape orientation.

Not exact matches

How do you guard a team that can play 5 out with Lillard coming around ball screens needing almost no space to get his shot off?

I haven't really played with skilled big men before, so coming off screens and getting free to shoot was much easier.

Even Cowens, who is considered the exemplar of the «new breed» — a center who is quick, active, mobile on defense, runs up and down all night, shoots outside, posts, screens, hands off and receives — is still only a center, albeit a magnificent one.

His shot went through a screen and off Columbus defenseman Scott Harrington at 12:48.

or you have a screen but have to release it quickly to get the shot off.

He's so strong shooting off the dribble that teams can't duck under the screen.

Hagelin was able to beat the Caps defense to a puck along the end boards, and while Gaborik positioned himself with a screen in front of the net Richards was able to tee up on a big shot off Hagelin's assist.

His ability to catch and shoot as well as pull up makes him a constant perimeter threat, and he might be able to run off screens and do damage at the next level as well.

I was asked to be in a lot of different pick - and - roll situations, handling the ball, instead of put in situations coming off screens and being able to catch and shoot, and get out in transition and run the floor — which are my strengths.

«They're coming off making tough shots, throwing the ball back, other guys are making shots, Simmons is attacking, they're getting back cuts, trying to guard off screens.

So I hope you bookmark this, print this out or take a screen shot on your cellphone and keep it close for those times when you slip up and fall off track and it feels like your head is about to explode.

First off if you take a look at the screen shot of just 2 emails (from the 14 we received) you will notice that there are orange circles around the words «Online Cupid».

► A boy shoots a cap gun with a loud bang at the back of a man's head during a dinner and the adults at the table scream; outside, one of the men at the dinner gathers the children around while firing off large fireworks and as sparks and smoke fill the screen he tells the kids there is no danger.

He often accomplishes this with an astringency of technique, keeping much of the violence off - screen, shooting in extended, maddening long takes, and denying the audience's pleasure.

► Two men with shotguns find wild turkeys and we see and hear the flash - bang of gun shots in a close - up of a rifle barrel; the two men both shoot, one man kills a turkey off - screen and we see him carrying the body of the turkey (a ball of feathers and tail feathers) away from the camera.

► A teen girl slashes an attacker in her home across the face with a knife (we see his bloody cheek) and a woman throws a pot of scalding milk on his face (he screams and we see his reddened skin) and another man shoots the girl and the woman (we hear the shots off - screen and do not see the result).

Soldiers chase a group of adults and children in a warehouse type dwelling, shooting them with a combination sleep - drug and tracking device (please see the Substance Use category for more details); the people fall to the floor, asleep, and we see a tiny ball bearing stuck on the skin at the neck or shoulder; one woman rolls down a staircase (she is unharmed and awake), and a little girl cries and runs off screen.

Whereas most trailers linger a few seconds at most on any one image, this extended spot — attached to screenings of Logan back in the spring — blows almost a minute and a half on an unbroken shot of Ryan Reynolds» irreverent crime - fighter laboriously changing into his costume in a phone booth, underscored by the iconic John Williams Superman score, as well as the sound of the bystander he's taking way too long to rescue being violently murdered off camera.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Last but not least in this section is «The Beginning» Making Episode 1, where we take a detailed look at most of the aspects of getting this project off the ground with scenes featuring organising the cast, final screen tests, getting over the daunting requirements for the effects, convincing Spielberg it's going to work, first day of shooting, stunt work and so much more.

Note: It was hard / virtually impossible to get good screenshots of the game itself — recording directly off the screen was strictly prohibited and SEGA's «heavies» were out in force on the day — so after a few shots of the display, I was left with very little to take photos of.

It's actually astonishing that we not only have great actors nailing tricky scenes, and really some stunning, winding camerawork to go with it, but such things as the weaving in of special effects and the utter lack of capturing any of the off - screen crew members who surely must have been around helping with the shoot (that we never see anything we shouldn't in any of the many on - screen mirrors is quite astonishing) only makes this one of the more brilliant efforts at shooting a seamless film since the first in Alfred Hitchcock's Rope.

Some circumstances, at least, have worked out in «Margaret» «s favor: in the wake of «True Blood,» Paquin is arguably a more marketable name than she was at the time of the film's shooting, while Ruffalo might well be coming off a profile - raising awards season run by the time it hits screens.

It's the kind of shot I suspect fades from memory about two seconds or less after it's off the screen.

At times it's shot like theater: long, static, dialogue - heavy shots with characters moving on and off screen.

As the new Star Wars movie begins shooting on remote Skellig Michael off the Kerry coast, many across Europe and further afield will be looking with envious eyes to Ireland's latest, most spectacular screen coup.

between Jim, Maggie, and Don (and Lisa); the goosebump - raising way that the show used on - screen text to reveal the BP spill and the Giffords shooting; the structural flourishes of the 2010 election episode and the season finale; that great scene where Don gives a master class in covering trashy news; the way you can see Olivia Munn finding her bearings as an actress, and how that parallels her character becoming a confident on - air personality; the brashness of Jane Fonda, the patience of David Krumholtz, the deliciousness with which Emily Mortimer says the word «douchebag,» the way Jeff Daniels tosses off his throwaway lines, and the way he answered that «sorority girl»'s question the second time.

It's beautifully shot with splashes of color that pop off the screen.

The shot that «killed» Moriarty happened off screen.

I don't know that I've ever seen a film as obsessed with what is not on the screen: every shot seemingly involves someone looking at or talking to someone or something off - camera, or heading out into space we can't see.

«Lemon» is a lot of things: a dark comedy about failure, a brilliant cultural treatise on the dumb white male comedy trope, and the warming story of Bravo and Gelman's off - screen relationship, as their marriage is reflected in a relationship that Isaac starts with Cleo, a woman (Nia Long) he meets on a commercial shoot.

Screams are heard as people are shot off - screen.

Q: Your chemistry together is so great; did you know each other well off screen before shooting the film?

A funny addition is the narration (which can be turned off, luckily, because it gets a little repetitive after a while); while you are shooting enemies our drilling through planets, a seemingly British man comments on what's happening on your lush Vita screen.

The film adheres to the flighty, anarchic whims of its protagonists, this time tracking them in gorgeous 35 mm shot by Alexis Zabe, whose day - glo Florida facades and pastel clouds fizz off the screen.

Depth is somewhat crushed by the film's shooting technique, but textures and details pop off the screen during close - ups.

Spanish director Eugenio Mira shoots things with a certain De Palma-esque flair with a few impressive shots, but he also pulls his punches — for all of Cusack's off - screen menace, it feels bloodless and low - stakes.

After all, the guy didn't just die off screen in the first movie — he was shot point blank right in the face.

From scenic shots to the vine - swinging, tree - sliding action that is its signature, the movie comes to life and lifts right off the screen.

From the sound of a faucet off screen to the appearance of a pigeon, every nuance of performance, every shot and every sound effect work together toward a greater whole.

More challenging split - screen shots, part of the constant illusion of there being two Hayley Mills, are pulled off expertly, with hardly any lapses that are noticeable (without watching Disc 2's bonus features, anyway).

His violent behavior still seems to be condonable though, as evidenced in the dozens of on - screen and off - screen shootings, hard - hitting hand - to - hand confrontations and car chases — all of which place no value on the lives of innocent background civilians who become collateral casualties amidst the mayhem.

Already on the docket, announced as early, anticipatory treats, we have Amma Asante's apartheid - era romance, A United Kingdom, kicking off the whole shebang, and then we have Ben Wheatley's much - anticipated period shoot -»em - up Free Fire screening to mark the festival's close.

Hornaday, a former film choreographer whose resume dates back to Flashdance and ABC Afterschool Specials, knows enough to pay tribute to Ferris Bueller's Day Off with a nearly shot - for - shot scene recreation and to Disney's Flight of the Navigator, a wonderfully random screening subject (sadly not excerpted) upon which Dylan and Josh begin building their friendship.

Snapped these shots of Julianne Moore and Ed Harris as Palin and McCain off the screen from an HBO preview tonight.