Sentences with phrase «story sequence which»

In terms of the flow of the game: you battle, you find a new town, you buy new gear and spells, you battle, you fight a boss, you get a story sequence which moves the plot further ahead, and you repeat.

Not exact matches

If we line up the gospels in the time sequence in which they were written — that is, with Mark first, followed by Matthew, then by Luke and ending with John — we can see exactly how the story expanded between the years 70 and 100.»

It can be captured not in a single principle but only in a sequence of images that are embedded in that story, focus our reading of it and provide a framework within which individual texts can make sense.

Here, indeed, it is less formal, and story and teaching alternate more freely; yet even so each of these works provides examples of sequences of ethical precepts, more or less complete in themselves, and comparable with those which we found in - the epistles; and these are related to passages of narrative which serve to introduce them.

Please people, stop giving this game a 10, and stop buyng it, if you keep believing the hype and continue to pretend this game is good just because you liked its predecessor (which wasnt as good as the original Syphon Filter by a longshot by the way) then the game will never improve, the next version will have just as lame a story, with another crappy character, and they'll lazily put in another torture sequence, and stinger fight with an aircraft (how lame was that?)

From the tense opening sequence of a bombing against Turks living in Germany, In the Fade (Aus dem Nichts) stands out from the work of the German - born director of Turkish origin for the anger and grief it brings to the story, which leave the audience shaken.

And while World Trade Center, which follows Port Authority officers John McLoughlin (Nicolas Cage) and Will Jimeno (Michael Pena) as they're trapped beneath the World Trade Center on September 11, 2001, is ultimately marred by a midsection that just doesn't work, there's simply no denying the effectiveness of several individual sequences within the film (particularly those at the story's beginning and end).

While the attack on the train is compelling and one of Eastwood's best sequences, unless you are interested in a travelogue of major European cities, the rest of the film which fills in the character's back story, does not rise to the same level.

cracking action movie with enough stunts, break - ins, and action to make up for all its faults, which include a rather lame love story and a HORRIBLE burglary sequence.

But it's unfair to judge on a book on its cover (or title) and after seeing Matthew Vaughn's film adaptation which releases this weekend, I can honestly say that Kick - Ass is much better than I first expected and Vaughn's big - screen version of the graphic novel features sharp writing, brilliant performances, and of course, indulgent action sequences and story - telling.

Brutal briskness characterizes the sporadic hand - to - hand combat sequences, though the story's prime concern is violence against not the body but the soul, as Mike's struggle isn't really against any particular opponent but a life and world in which wealth, status, and comfort are valued more than honesty, honor, and loyalty.

The anthology feature, which also stars Jim Sturgess, tells ten stories of romance set in the German capital with directors including Fernando Eimbcke, Dennis Gansel, Massy Tadjedin, Peter Chelsom, Til Schweiger, Justin Franklin, Dani Levy and Dianna Agron helming different segments with Josef Rusnak directing the transition sequences.

One sequence quite late in the story features a rather blatant «return to the womb» moment which, while visually interesting in its depiction and thematically consistent with what's happening character-wise, comes off as a little cheesy and overdone.

The action sequences boasted fine use of the side and rear speakers, all of which brought us into the story well.

As well as a main story mode, stages can be replayed in Arcade mode, which allows one to set a time limit or play in a truly endless sequence.

Where the film excels, however, is director William Wyler's measured tone, which accepts the story's focus — of gradual changes and carnage on the home front — and uses lengthy sequences emphasizing actor reactions.

Before you can start any battle, you have to dig thru an endless sequence of branching dialogs which tell you the story (since I am not a keen reader I attempted to just skip all that rubbish to finally see the battles, but got

Each of the four are said to have «their own agenda and influence on the story,» which will play out in flashback sequences.

The action sequences, however, are pretty hit and miss, which is a shame considering Wright's outstanding work in «Scott Pilgrim vs. the World,» and the sci - fi setting seems to be working against the story at times.

From 1975's Jaws, which started the summer blockbuster phenomenon, to 2017's Academy Award - nominated The Post, Spielberg has moved audiences with his rich, emotional stories, thrilled them with some incredible action sequences; made them think with his political dramas and inspired them to explore a world beyond our own.

As expected from a Ridley Scott - directed sword / sandals epic based on the story of Moses leading 600,000 slaves out of Egypt, the trailer and footage teased killer action sequences and battle scenes, a cast of thousands which includes Sigourney Weaver, Ben Kingley, Joel Edgerton, Aaron Paul, John Turturro and some of history's earliest family drama between Moses and Rhamses (Edgerton).

Various story elements have been lifted from Year One and the 1999 graphic novel Batman: The Long Halloween; Nolan and Goyer's main contribution is an overblown sequence in which Wayne (Christian Bale) travels to a small village in the Himalayas and trains to become a ninja with Obi - Wan Kenobi stand - in Liam Neeson.

While the opening scene, which serves only as back - story and general reasons as to why it takes so long for Raleigh (Charlie Hunnam) to return to the Jaeger game, is fluff for the film and even in the moment felt unnecessary as opposed to just being retro - actively less awesome than the other greater action sequences.

Jackson was restrained from over doing it with the CGI and «epic» battle sequences, which in my opinion does not make a story epic.

But even as the revelations pile up and the screws tighten and you start to sense that terror and violence are inevitable, the movie never loses grip on what it's about; this is a rare commercial film in which every scene, sequence, composition and line deepens the screenplay's themes — which means that when the bloody ending arrives, it seems less predictable than inevitable and right, as in myths, legends and Bible stories.

Considering the center fantasy of this story, World's End also packs a few exciting action sequences, which show dedication to heavy choreography but also to numerous genres.

Beyond visuals, fun stories and awesome action / driving / interviewing sequences, a few new ways to play the game come with the Nintendo Switch version, though one in particular is the most interesting, which is touch screen capabilities.

True story: when I was watching King Kong, the Empire State Building sequence, which I knew was totally fake, all special effects, was dizzying enough that it gave me an attack of vertigo and I had to watch the rest of the film lying on the floor.

The 1927 story follows Rose (Millicent Simmonds), a fan of silent films who runs away from her strict father in Hoboken to explore New York City; these sequences are themselves staged like a silent movie, with a luminous B&W look and a sound design in which Carter Burwell's score does the heavy lifting.

Much in the same way that the opening sequence of Up is called out as an example of Pixar working at its tear - jerking peak, almost nullifying the impact of the rest of the film, Toy Story 3 has a lengthy climax culminating in a curtain call, all of which is meant as a massive payoff to a 15 - year trilogy, a firm period on a franchise that could easily be extended on the silver screen for years to come.

However, aside from a few jokes — which unfortunately don't always land where they're supposed to — and a handful of enticing action sequences — especially the ones surrounding Flash and Wonder Woman — the film, as a whole, feels simplistic in structure and lazy in execution, with the story lacking substance, ingenuity and enough heart to leave a lasting impression.

Arthur is just a boy as the story begins, and the movie takes him into adulthood with its sole imaginative sequence: With a drum machine pounding on the soundtrack, we see him growing in a series of staccato cuts, which are interspersed with other quick cuts that show what's happening in Vortigern's Camelot.

And anyone who has seen her and Gosling's enchanting «A Lovely Night» sequence or heard her triumphant «Audition,» which she performed live on screen, or simply given themselves over to the story at the center of the film — which has a 93 percent favorable rating on RottenTomatoes.com and has grossed $ 269 million worldwide (on a $ 30 million budget)-- can tell you that she and her collaborators more than rose to the occasion.

«When 3DS was announced, we realised that users would be able to basically pick up and play for a little bit, which made a really good match for how Dragon Quest 7 plays out — it's is a sequence of short stories.

These introspective themes add some depth to this story, which otherwise consists of numerous battles sequences, sword fights, and violent conflicts.

One of the reason for this approach is because you will be attempting the same story sequences with different dynasties or characters so in this way, you will be already repeating most of the missions which can leave you feeling burned out.

It all starts out with a few short clips to get you into the story line and then immediately follows up with just immense action sequences which has you bashing buttons for ten solid minutes, and then move onto the next level.

Movie - tie - in games like Over the Hedge usually lean heavily on the source material for substance, which makes the use of homegrown CG story sequences, rather than short clips from the actual film, a bit of a head - scratcher.

While the director tags along with Foley and his compatriots on a few desert - mountain excursions, one of which results in a bland confrontation with border - smuggling mules, these sequences add little other - side - of - the - story context to Cartel Land, mainly because Foley comes across as little more than an anti-government extremist infatuated with fantasies of defending his beleaguered nation from invading hordes.

The exception is the divisive final sequence, which goes against the story's logic but comes as an almost necessary relief.

The Rookie's best sequence is its intital car chase, in which Eastwood pursues (and boards) the car thieves» semi auto - carrier, but matters get downight nutty by the picture's midsection — in which Pulovski is kidnapped by the baddies: his escape involves a sports car shooting out of a second - story wall, just ahead of an explosion («Fasten your seatbelt,» Pulovski sez).

A series of intersecting stories form the backbone of Anderson's magnum opus, which blends brilliant ensemble performances, heartbreaking musical sequences and a bewilderingly apocalyptic plague of frogs.

The story sequences are told through beautifully rendered characters that are subtly animated which makes them come to life.

And aside from the dream sequences — all of which enhance and are justified by the story — the authenticity, realism, and social relevance established by writer / director Geremy Jasper is such that, at times, you could almost think you were watching a documentary.

This suits Inarritu just fine, the marketing fixed so solely around the five minute sequence where Di Caprio takes on a massive grizzly bear, which really is only where his story actually begins, that the audiences are left clueless as to what the movie is really about, something few directors are blessed with in today's cinema.

Stories like that fill McIntyre's book, which also has dozens and dozens of concept images from The Shining sequence, as well as every else in the movie.

The film begins with the story of Turnbull killing Hex's family and once that is over we're immediately thrown into this cartooned credit sequence which I know was intentionally made to look like a sucky comic book but it didn't help the film's case.

Even if these references hint at the sort of story that Midnight Special tells, what you won't see coming is the genuinely extraordinary coup de cinéma that Nichols pulls at the climax, about which I'll say only that, after years of brain - numbing visual bombast from Hollywood, here is a sequence that restores your faith in the capacity of special effects to achieve real grace, strangeness and beauty.

That willful self - deception is beautifully summed up by a single sequence in which Harley, in rare voiceover narration, sighs about the worlds Ilya opened up for her, and about how there was «an elegance» to him, while the pictures tell the story of two lank - haired dullards stealing bottles of 5 - Hour Energy from drugstores to fence to kiosk vendors.

The film's only decent male figure is Harvey Keitel's Hal Slocumb, the compassionate Arkansas cop who's hot on the duo's trail, but — as befitting a story that presents testosterone as a dangerous enemy of female independence — he's barely heard from except during police procedural sequences in which he interviews suspects, taps phone lines, and argues with superiors in an unconvincing Southern accent.