Sentences with phrase «than the framing story»

Price's descriptions of these new beasties trigger accompanying vignettes far less entertaining than the framing story, which is rife with horror movie in - jokes, cheesy rubber monster masks, and music by pop - reggae band UB40 -LRB-!).

Its story - within - the - story, starring Jake Gyllenhaal as an everyman whose wife and young daughter are abducted on a Texas highway late one night, is far more compelling than its framing story, in which Amy Adams mostly reads an unpublished novel (which tells the abduction story; it was written by her character's ex-husband, also played by Gyllenhaal) and looks miserably rich.

Not exact matches

The disaster frame lends itself to a strong narrative, whereas risk is more of an issue than a story.

Freeman (director Jackson's first choice for the title role) is inspired casting as Bilbo Baggins, and makes for a more likeable protagonist than Wood's rather other - worldly Frodo (who, along with Holm as the older Bilbo, makes an appearance in the film's opening framing story).

Rather than fancy camera work, he relies on powerful framing and the story itself to move viewers.

Sydney Pollack's («Three Days of the Condor» / «Out of Africa») well - made but unimportant political thriller (more a character driven than a plot driven story) is set in New York City and frames its story around an assassination plot of an African leader set to speak at the United Nations.

The film takes place primarily in 1932, but the main story is framed — as if inside a Russian nesting doll — within three later time periods: the present (or something later than 1985), 1985, and 1968.

Unlike the Naruto: Ultimate Ninja Storm series which is more and more a mess of technical, balance and gameplay issues these days, Brave Soldiers delivers what is a nice, franchise - based fighting game, at first, i was expecting a simple fighting game with some button mashing, however, the game proved me wrong and i fell in love, the combo system, while easy, is a lot more deep than the one in the Naruto games, with all of the characters having two special attacks, two «burst attacks», a knock - away and a launcher respectively, a throw and an ultimate attack (called a «Big Bang Attack»), every character also has an universal dodge - action that sends them behind their enemies while spending one cosmo bar, making bar management that much precious and shielding you from a half - a-hour combo, unlike in the NUNS series, the fighting and the characters are nicely balanced, with every character being fun to play and viable at the same time, the game runs smoothly without frame - rate issues and the cell - shaded graphics, character models, arenas and effects alike are nice to the eye, battles are divided into rounds, with all the tiny nice stuff like character introductions and outros being intact (fun fact: the characters will even comment on their score after the battle), the game also features an awakening system, called the «Seventh Sense» awakening, unlike the NUNS awakening system which became severely unbalanced in the later game, every character simply gains a damage / defense boost, with the conditions being the same for all characters, eliminating situations when one character can use awakening at almost any point in the battle, or one awakening being drastically stronger than the other, the game has a story mode with three story arcs used to unlock characters, a collection mode, tournament modes, a survival mode, a series of special versus modes and online battle modes.

It's more technical than you might expect, as such movies cited as inspiration include Crimson Tide and Se7en (lighting), The Life Aquatic with Steve Zissou (symmetrical framing), and Scrooged and Groundhog Day (story).

Given Zemeckis» love of integrating special effects directly into his stories — this is the director who brought us Back To The Future, Who Framed Roger Rabbit, and Forrest Gump, after all — we're going to guess that Hogancamp's 1/6 scale tableaux of heroic pin - ups and dastardly Nazis will be more than just static props.

His take on the coming - of - age film, however, is one of those cases where the framing devices and framing stories are more compelling than what's being framed.

Using Melville (Ben Whishaw) as part of a framing device — he calls on a survivor played Brendan Gleeson to recall the tale as research for his next book — the film goes out of its way to tell us that «Moby Dick» is probably a better story than the one that will be told here.

These story introductions, I will admit, bothered me too, until I gave it some thought and came to the realization that, by framing the entire tale as if narrated by an old Tonto many years after the fact, that there is indeed a plausible explanation other than just Depp's star power.

All joking aside, this film looks absolutely badass — a no - holds - barred beat - «em - up that isn't so much concerned with story than cramming as much bone - breaking, testosterone - pumping action into every frame as it possibly can.

Vilmos Zsigmond, who shot three of Woody Allen's recent films (Melinda and Melinda, 2004; Cassandra's Dream, 2007; You Will Meet A Tall Dark Stranger, 2010), said in an interview that Allen is more concerned with story and performance than the visual aspects of his films, and that he wouldn't look at frame while shooting unless Zsigmond encouraged him to do so.

Dear Mick: Can you explain to me why so many stories in movies can not be told in chronological order rather than with constant flashbacks and / or jumping from one time frame to another?

This framing device is inferred from statements Fitzgerald made in «The Crack - Up,» and «Gatsby» often refers to itself as a book, so even though it isn't officially part of the source, it's hardly a blasphemous indulgence; still, it's one more buffer between viewer and story in a movie that already has more than its share.

Yet, Stories We Tell often feels more like a dramatic suspense saga, or even a gothic romance, more than a movie about Sarah Polley because even though she sits at the very centre of the frame, this is really a biographical portrait of a ghost.

Likely closer to «Boyhood» than «Moonlight,» the director knows the story he wants to tell and lets his own wonders bleed in every frame.

Like his work on Interstellar, Hoytema's photography for Nolan's Dunkirk renders epic - scale sets and a high stakes story with gentler beauty, using colour to find emotion in the frame, rather than Pfister's harsh, vacuous lighting.

Rather than trying to shape and mold Logan's story to try and force it to adhere to an existing «paradigm» or tonal frame of mind, Jackman and James Mangold decided to make something that genuinely stands on its own.

Chilean - born Ruiz is a director whose love of storytelling and narrative play is often more engaging than the films themselves but with Mysteries of Lisbon, an epic based on a classic Portuguese novel (one yet untranslated into English), his engagement with the characters and their defining stories guides his direction, and his graceful camerawork and unerring eye for images both classical (like paintings in a cinematic frame) and fluid (his camera moves with purpose and grace) are in the service of the trajectories of the characters.

And here's where Boyhood becomes a special case: More than almost any movie I can think of, the emotional and fascinating story of how it was made is practically part of its plot; it doesn't need to be sold as a campaign talking point because it's manifest in every frame.

The desire for a good story is built into our DNA and it's thought that people remember things better when they're framed within a story, rather than as stand - alone facts.

I think there is no doubt that death is more accepted on a farm than in the city especially in the time frame of the story.

A cinematic adventure, not one of the three games lasts longer than 12 hours, and they all feature Hollywood - inspired action sequences, traditional cinematographic framing techniques and even the standard overarching story arcs you'll find in any successful filmic trilogy.

- the game's shading mechanism has changed, which allows for increased gear texture quality - all graphical aspects and programming mechanisms have been built up from scratch for this sequel - maximum resolution is 1080p in TV mode - a bigger focus for Nintendo was the 60 frames per second - occasionally the resolution will be scaled down when there is too much ink displaying on the screen - Nintendo reduced the CPU load and refined the way to use CPU power effectively to maintain 60 fps in all matches - weapons were tweaked to let players be more creative by thinking about unique weapon characteristics and their best uses - weapons are designed to be effective when they are used during the right occasion - Special weapons are stronger than the original ones when used in the right situation, but weaker otherwise - the damage and effect of slowing down your movement when you step in the opponent's ink are reduced from original - you can jump up in rank if you're good enough, but only up until S - you can't jump up from C, B or A to S + - when you win battles in Ranked mode, the Ranked meter fills and your rank goes up when its fully filled - when you lose a battle, the gauge does not decrease, but the meter starts to crack - once the meter reaches its limit, it breaks - when the meter breaks, you have to start over again from the beginning or from a lower rank - highest rank is still S +, but if you fill up the Ranked meter, you get numbers after the alphabet such as «S +1», «S +2» and so on - maximum number is «S +50», but this number will not be displayed to your opponent - you are the only one to see it, and you can check it on your own status screen - Ranked Power is calculated by an algorithm to measure how strong each player is with minuteness - this will determine if a player's rank is worthy of receiving a big jump (like from «C» to «A»)- Ranked Power has no relation to your splat rate, and is more tied into to how well you lead your team to victory - you won't drop off more than one rank even if you play poorly - stage rotation time was changed to two hours - this was done because the devs expected people to play for an hour or so, but they found people play much longer - with Salmon Run, Nintendo considered how to implement a co-op oriented mode in a player - versus - player type of game - the devs will monitor how users are playing this mode to see if there's some tweaks they can throw in - more Salmon Run maps will be added in the future, but Nintendo wouldn't comment on adding more enemy types to the mode - rewards are changed each time Salmon Run is played - you can obtain rewards when playing locally, but not gear - originally Nintendo had an idea for this mode, but had no background setting, enemy designs, etc. - Inoue suggested that it should be salmon - themed - when Nintendo hosted the Splatfest that pit Callie against Marie, the development of Splatoon 2 had started - the devs had already decided to have the result reflected in the sequel - they even had an idea to announce the Splatfest with a phrase «Your choice will change the next Splatoon» - the timing to announce a sequel wasn't right, so they decided against this - they eventually released a series of short stories about the Squid Sisters to show how the Splatfest affected the sequel's story - Nintendo wouldn't say if Marina is an Octoling, and noted that Inklings are not paying attention to this too much - Inklings don't care about appearances, as long as everyone is doing something fresh - the Squid Sisters had composers who produced their songs, but Off the Hook are composing their music by themselves - Pearl is genius artist, but she couldn't find a right partner because she's a bit too edgy - she eventually found Marina as a partner though, and their chemistry is sparkling right now - Nintendo is planning a year of content updates for Splatoon 2 - when finished, the quantity of stages will be more than the original - some of the additional stages are totally new and some will be arranged stages from the first game - not all original stages will return and they are choosing stages based on the potential for them to be improved - Brella is shotgun-esque weapon, so the ink hits your opponent more if you are closer - it can shield damage when you open it, but the amount of damage has a limit and once it reaches it, it breaks - you can shoot ink, but you can't use the shield feature when it breaks - the shield won't prevent your allies ink - there are more new weapon categories which haven't been revealed yet - there are no other ranked modes outside of the three current options - the future holds any sort of possibility, but the devs didn't get specific about adding more content like that - for the modes, they adjusted the rule designs so that players will experience the more interesting aspects

It certainly shares elements with other horror visual novels like Zero Escape — particularly in the way its story peels back layer by layer, slowly dissolving the painting and then the frame itself — but it ultimately has more in common with genre - benders like Undertale and Pony Island than its Japanese counterparts.

Newer pixelated horror titles such as Home and even lesser known ones such as The Witch's House are good examples of how visual simplicity allows the story and the feelings the game elicits to overlay what is otherwise nothing more than a wire frame for our imaginations.

Hank Willis Thomas is trying to break the frame or at least blurs the lines, so people could realize that truth is maybe a little more complicated than the simple story we've been told.

What additional context or different framing could this story have, so as to leave readers knowing more than they did before?

U.S. Embassy, Niamey, Niger, «Niger: Greener Now Than 30 Years Ago,» reporting cable circulated following national FRAME workshop, October 2006; Chris Reij, «More Success Stories in Africa's Drylands Than Often Assumed,» presentation at Network of Farmers» and Agricultural Producers» Organisations of West Africa (ROPPA) Forum on Food Sovereignty, 7 — 10 November 2006.

I was particularly interested in Fyfe and Crookall's suggestion that «good failures» be rewarded, that stories about mistakes should be framed positively and shared — rather than belittling the team that bit off more than it could chew, find out what they would do differently on the next project and build that into your strategies for your next project.

Multiplayer modes play at a noticeably higher frame, but the game displays at 900p rather than the story mode's 1080p, so it looks a touch less polished.

Professional Experience SMC Construction (Irvine, CA) 05/2007 — Present Senior Project Superintendent • Supervise and managed subcontractors for a $ 4.2 million parking garage for LA Valley Collage • Perform demolition of the existing parking lot and construction of new 458 parking spaces • Install new lighting and «fire life safety» emergency phone system throughout the parking lot • Construct new storm drain system, Bio-swale, landscaping and new marquee signs • Oversee an $ 18 million construction project for the Ventura County Fire and Sheriff Academy Training Academy (FSTA) • Build single story, metal framed, 47,640 square foot of classroom building • Construct classrooms, fire lab, driving and shooting simulator rooms, library, offices, kitchens, multipurpose rooms, break rooms, and restrooms • Supervise and manage the construction of the Gold LEED Huntington Library • Oversee demolition of existing library in accordance with city regulations • Manage the construction of the $ 28 million Gold LEED Rieber Hall for UCLA • Direct team of more than 120 workers a day for refurbishment of 424 dormitory building • Ensure compliance with Title 24 and the latest code and building regulations • Perform asbestos abatement, installation of HVAC system with new boilers and ductwork, plumbing with Solar panels providing hot water to 24 bathrooms with multiple showers, toilets and sinks, and ADA compliant restrooms • Install electrical system with an emergency generator backup system, 4 traction elevators, windows, and curtain wall system • Completed project on schedule without disrupting the University's use of the 1st floor and exterior • Oversee the $ 5.6 million exterior renovation of the Anaheim Convention Center • Remove exterior walls on 3 sides of the building and install complex new curtain wall system in 20 bays • Maintain job site and public safety allowing use of the convention center during ongoing construction