Sentences with phrase «something out of sequence»

You also need to have a smart, safe strategy and don't try to do something out of sequence and completely different than anything from the season.»

Not exact matches

It's all pretty noble, and if nothing else, World War Z shows off some horrifically effective filmmaking: An early sequence, in which Pitt's Gerry figures out something has gone terribly wrong as he's driving his wife (Mireille Enos, of Big Love and The Killing) and two generically adorable daughters from here to there in Manhattan, is that rare evocation of chaos that isn't chaotic itself.

The action sequences and fight scenes in the first two acts of the movie are equally impressive in their staging, taking visual cues from sources that include Coogler's own grounded boxing scenes in Creed, as well as many a James Bond film during a nightclub sequence right out of something like Skyfall.

The movie stop - starts between fight - chase sequences played out against pop tunes from Quill's beloved mix - tape; there's something a little alienating about the repeated use of dissonance between the cheery songs («Come a Little Bit Closer» by Jay & The Americans) and the slomo violence meted out by the Guardians.

There are scenes where Jolie and Pitt sizzle, and there are some moments of fantastic scripting, where the violence and gun battles become something more than just great action sequences... they become commentary on the process of working out one's differences with another.

Calvin is let off the hook far too many times and any pathos is put in the background to broader humour, such as when Calvin and Ruby visit Calvin's mother in a sequence that feels more like something out of Meet the Fockers (Jay Roach, 2004).

Even something like «The Bourne Identity,» beyond the action sequences there's something deeply satisfying about being a fish out of water alongside the protagonist.

However, with a film like this where even though each of these set pieces start out with these songs they always expand into these elongated tap dance sequences which I'm sure are fantastic for dance films, but something about them just feel repetitive.

There's a dream sequence late in the film that reminded me of something out of a Luis Buñuel film, complete with surreal visuals and butchered meat, and it's startling and alive in a way the film overall fails to achieve, outside of a few scenes.

A five - minute featurette called «Greetings From Bull Mountain» is the standard five - minute B - roll / soft - sell interview errata that features a few additional male buttock shots; «King of the Mountain» is a two - minute music video that splices action sequences from the film together with bloopers and sets it to music (something resurrected in feature - length form by this year's ESPN's X-movie); and nine chapter - encoded deleted scenes (blissfully sans commentary and running between fifteen seconds and a minute, each) are essentially long «comedy» shticks that prove for as bad as Out Cold was, it could have been even worse.

This won't be to everyone's taste, but very quickly became like candy to me — because, of course, by giving each scene and sequence its full weight and measure (there are rich, trenchant dialogue scenes in this movie, several of them; never better than Jesper Christensen's Mr. White having a quiet word with Bond, or Seydoux's Madeleine passing angrily, drunkenly out, muttering to herself in French), Spectre begins to feel like something no Bond movie has ever felt like before: an actual movie.

It's lit like something out of Sleeping Beauty, with obvious artificial light (which we see again as moonbeams during a prison sequence) that casts the entire film in a sense of heightened reality.

Selznick simply isn't that good of a screenwriter, constantly having his characters write something down, show it to the screen and then say it out loud in a maddening dollop of redundancy, and Haynes often gives those sequences a bizarre 70's exploitation feel with afros aplenty and a glaringly terrible funk soundtrack that makes you pine for the silent era all the more.

It's in the one extended sequence with Moore that the film works best as a cohesive package, in which Ford restrains himself and lets Firth and Moore create a potently passionate portrait of long - term friendship, with all the unspoken history, tender affection, and the not - so - paradoxical simmering bitterness that can sometimes go along with that... particularly when one friend may want something different out of the relationship than the other does.

After finishing a sequence of five Cold War novels, I wanted to get out of the past and take on something contemporary.

Like Josh points out, on the design side, as well, we can really get the player into a mood: so yeah, there's still times we'll push the player into a very intimate combat space — if we want to layer on extra pressure for an escape sequence or something — it just gives us a wider variety of trees, density, variety, foliage, background environments and how vivid and detailed they are... it gives us all that to play with.»

So the game become wrapped around the players choices, so it then become something like the average game you do missions / objective / play the story and sequences unravel, but with a twist you create the story it's not going to be the same if you choose to let someone die opposed to letting them live like 90 % of the games out there.

«Deep Silver were really keen to create something different, something that would really stand out and when they put forward the initial idea for the «reverse» sequence I saw the seed of something great there.»

To make up for the «lack» of action sequences, Uncharted 4 ends up becoming the best overall experience; sure, there may not be a moment that stands out like the boat or plane sequence in U3, but instead the game in its entirety stands out, as there's not a moment of blandness, every single section of the game stands out for doing something special.

Something about playing around with an 8x4» MDF board stuck with us and so we spent two weeks working on a continuous sequence, a sort of dance piece with out us having to dance.

The administration involved in keeping on top of these changes can be daunting; the Agency manages some of it, making claims if it knows something is out of sequence, but with our complex materials, they often have no idea that a part or an act is missing until we let them know.