Sentences with phrase «story sequences from»

Not exact matches

In this sequence the child might learn that the earth has its intrinsic spiritual quality from the beginning, for this aspect of the creation story is what has been missing.

What they are learning while they play: literacy: storytelling from memory, retelling in correct order, sequencing, remembering key elements of a story, using storybook language in play motor skills: scooping, pouring, tipping, pinching and raking through sensory materials maths: counting out numbers of objects to match those in a book, problem solving

Essentially an AOP tells a toxicological story in terms of a logical sequence of causally - linked «key events» that occur at different levels of biological organisation, from perturbations at the molecular scale up to effects occurring in a whole organism or a population.

Related sites Timothy Read's home page ScienceNOW story about TIGR's plan to sequence additional strains of anthrax Anthrax information from the Centers for Disease Control and Prevention

«The only way to get a real story, the closest we can get, is to sequence nuclear genomes from orchids,» says Victor Albert, a plant geneticist at the State University of New York at Buffalo.

Drosten says sequencing genomes from other samples, including crucial cases outside of Saudi Arabia, will tell a more complete MERS story.

You can take just about any gene from a sequencing study or GWAS and — with the assistance of a nice resource like Gene Cards — come up with a story that might connect mutations / variants in that gene to your phenotype of choice.

An Animated History of Reproduction Part cloning experiment, part documentary, Stories from the Genome follows an unnamed CEO - geneticist whose company sequenced the Human Genome in 2003 — a genome that secretly was his own.

Not much: The filmmakers — among them Tsotsi director Gavin Hood and 25th Hour writer David Benioff, no joke — relegate the most interesting parts of Logan's early story to an opening - credits sequence that dashes from his 1845 childhood to the Civil War to the Vietnam War in a span of seconds.

Jolie, who dealt with heavy material in her previous directorial outing, «In the Land of Blood and Honey,» also makes the mistake (and who knows how much of this came from studio pressure) of soft - pedaling the story's most brutal sequences.

While she keeps the action hopping from one flash point to the next and cooks up a couple of exciting sequences in the last 30 minutes, she doesn't develop the narrative momentum needed to sustain a two - hour story.

Once again, Iron Man 2 presents a fairly silly story in a more - or-less convincing way, excellent special effects and a handful of action sequences that range from lackluster to pretty good.

Perhaps the weakness of Coco will lie in its predictable storyline, as it becomes clear from early in the Land of the Dead sequence where things will be going for the rest of the plot, if you know how these stories always go.

It's melodrama and at times far - fetched and improbable, but the story twists and spins artfully from one high - powered sequence to another while the entertainment holds like steel cable from start to finish.

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 shaFrom 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 shafrom 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.

Despite the fact that all Alexander has to do is grow up and take over the world, the chronology is all out of sequence, and this prevents the story from building momentum.

The new episodes don't represent another radical leap forward in style or quality the way season two was, but whatever's lost from the shock of the new (nothing here is quite as weird or surprising as the cavewoman prologue or «International Assassin,» though a joke in the second episode and a party sequence in the fifth come close) is gained in how much more we know all the characters at this point, and how aware they are of their proximity to their story's end.

The story goes that when Alfred Hitchcock conceived the idea for «North by Northwest» he really just came up with three action set - pieces — Cary Grant and Eva Marie Saint hanging from the faces on Mount Rushmore, the cropduster chasing Grant through a cornfield and the sequence that has bad guys pouring liquor down Grant's throat until he's too drunk to drive, then putting him behind the wheel of a car that is sent careening down a mountain.

This sequence underlines what's missing from the film at large: a sense that director Raoul Peck has made the story of Karl Marx (August Diehl) his own.

As it comes together, the sequences of emptiness and a character that wonders from place to place, start to work together to tell a very deep story of depression, loneliness, suicide, conscience, adulthood, alienation, desire, limitations, fear, paranoia and at the heart of it all, the disgust and regret of becoming a father, that take severe psychological and physical effects on the main character.

The soundtrack is comprised of original tunes that really serve to capture the essence of Minecraft and complement the action unfolding on the screen perfectly, effectively striking the appropriate emotional response from the player on a consistent basis as the story becomes darker in tone after the light - hearted opening sequences.

This is racist, the idea that bwana from the sky will lead the backwards, Zippo - worshipping brown people to glory, and this early sequence that sets the story in motion offers the first of two times Spielberg and company will engage in the «ethnic food is gross» gag as Indy forces Willie to eat the meagre repast offered them by a council of elders.

The appeal of the film is manifold - its serenity as The American meticulously goes about his craft; the paucity of dialogue that heightens its few action sequences when they do occur; a superb ensemble of actors led by Clooney that also includes Violante Placido (Clara), Thekla Reuten (assassin), Johan Leysen (controller), and Paolo Bonacelli (as a local town priest); the artistic framing of the film by director Anton Corbijn both in its interiors and the long shots of the Italian settings; and simply the story's uncertainty that grips one from its very beginning.

Just about everything here works to a great extent from the story, to the performances, to the amazing action sequences.

The ones involving social media work very well; others, particularly the dream sequences, are hit - and - miss and take away from the story.

Sure, the ballet at the barn - raising is arguably the greatest group dance in Hollywood history (the only other real contenders are probably from West Side Story), building a traditional minuet ever faster into a gymnastic competition, but it's immediately followed by a very well - choreographed (for Hollywood at the time) fight sequence.

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).

The movie started really strong and was quite entertaining, from the story being narrated by Nicholas Cage with humorous cartoony opening credits, to the action of the Rider in his first action sequence.

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.

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

Cooper certainly serves up the action sequences expected from this genre but isn't afraid to play his film at a deliberately paced tempo that serves the effective and affecting story well.

From the stunning opening sequence to its very bizarre conclusion, this is a striking film, but be sure to check your disbelief in at the door as this is one preposterous story!

Special Features: • Brand new 2K transfer from the original camera negative • High Definition Blu - ray (1080p) and Standard Definition DVD presentations • Optional English SDH subtitles for the deaf and hard of hearing • Audio commentary with co-writer and producer Mardi Rustam, make - up artist Craig Reardon and stars Roberta Collins, William Finley and Kyle Richards • New introduction to the film by director Tobe Hooper • Brand new interview with Hooper • My Name is Buck: Star Robert Englund discusses his acting career • The Butcher of Elmendorf: The Legend of Joe Ball — The story of the South Texas bar owner on whom Eaten Alive is loosely based • 5ive Minutes with Marilyn Burns — The star of The Texas Chain Saw Massacre talks about working on Eaten Alive • The Gator Creator: archival interview with Hooper • Original theatrical trailers for the film under its various titles Eaten Alive, Death Trap, Starlight Slaughter and Horror Hotel • US TV and Radio Spots • Alternate credits sequence • Reversible sleeve featuring original and newly commissioned artwork by Gary Pullin • Collector's booklet featuring new writing on the film, illustrated with original archive stills and posters

From the opening sequence of young Mowgli (Neel Sethi) racing through the jungle in the company of his adoptive wolf family and his feline guardian, the black panther Bagheera (Ben Kingsley), through its comic setpieces with the layabout Baloo the Bear (Bill Murray) and its sinister interludes with the python Kaa (Scarlett Johansson), the despot orangutan King Louie (Christopher Walken), and the scarred Bengal tiger Shere Khan (Idris Elba), the movie bears you along on a current of enchantment, climaxing in a thunderous extended action sequence that dazzles while tying off every lingering plot point, and gathering up all the bits of folklore, iconography, and Jungian dream symbols that have been strewn throughout the story like Hansel and Gretel's breadcrumbs.

Playing a little more like an entry in the Bourne series than the Bond series, not only with its «rogue agent who can't trust his organization» story, but also its hyperkinetic way of editing the sometimes brutal action sequences, Quantum of Solace falls a bit from star Daniel Craig's debut due to the fact that impressively choreographed hand - to - hand combat fails to impress when the action and stunts are this grandiose.

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.

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.

An existential story showing how life is made up of fleeting moments in time in one man's journey of survival, far from being something that conveys a futility in our existence, The Red Turtle shows how these moments through dream - like sequences of self - reflection are actually what shape our own lives.

Arguably one of the weirder properties under the Marvel banner, «Doctor Strange» marries its inventive visuals — from the colorful, kaleidoscopic imagery to the physics - bending action sequences — with the usual superhero story beats to deliver the best solo origin movie since «Iron Man.»

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.

Check out the opening story sequences and the character creation process from Pillars of Eternity 2: Deadfire.

The family dynamic is a solid foundation to a story that — let's face it — only exists to go from one sequence of the creature threatening these characters to the next.

From Ben Hibon — who gave us the cool animated sequence in Harry Potter and the Deathly Hallows Pt. 1 — comes the story behind the steampunk soldiers faced by the girls in Sucker Punch.

Indeed, this story of a benign alien visitation is surprisingly personal, born from Spielberg's childhood experience of witnessing a meteor shower and featuring sequences and subject matter from his teenage film Firelight.

Before getting into how spectacular the action sequences truly are (and trust me, they save the blockbuster from plundering to the bottom of the ocean), it must be said that Oscar - nominated Kon - Tiki directors Joachim Ronning and Espen Sandberg have no idea whose story the movie should actually belong to, starting out as Henry Turner's (Brenton Thwaites) quest to free his cursed father at sea Will Turner (Orlando Bloom in a glorified cameo along with Keira Knightley as his partner Elizabeth Swann) to locate the Trident of Poseidon subsequently lifting that curse, and while the ultimate goal of the movie for all characters is finding said artifact for different reasons, by the end it's hard to fault the audience if they have forgotten all about that plot element and are just living in the moment of Jack Sparrow and company battling an army of decomposing, undead ghost pirates led by Captain Salazar.

There's also some interesting stories with the kids and how they were kept separate from Skarsgard as much as possible, only seeing him in full costume for the first time when filming the Neibolt sequence.

The story trots along with stereotypes being skewered (German mustard wants to kill all the juice), and some intense sequences of what happens when people bring their groceries home, including a disconcerting look at mastication from a food's - eye view.

The Story of a Three - Day Pass departs from generic convention by focusing on a Black hero and embracing New Wave - inspired realist techniques alongside fantasy sequences.

The story then becomes essentially a series of action sequences, somewhat undermined by the fact that the combatants seem unable to be hurt, even if they fall from dizzying heights and crack stones open with their heads.