Sentences with phrase «well during the sequences»

OmegaUnderground expects to see a handful of Planet Hulk characters as well during the sequences set on Sakaar.

A game like Uncharted for example looks even better during a sequence when the player has no control.

Not exact matches

We're most vulnerable to sequence - of - return problems in the first 10 - years, so it is a good idea to have a generous bond buffer during that period.

Similarly, Fellaini looked as influential as he did during United's previous best run under Van Gaal where they beat Tottenham Hotspur, Liverpool and Manchester City in a six - game sequence of consecutive wins last season, during which the Belgian was used to bully opposing right - backs and midfielders to great effect.

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Even with whole genomes, some of the earliest branches in Neoaves proved challenging to resolve, which was best explained by massive protein - coding sequence convergence and high levels of incomplete lineage sorting that occurred during a rapid radiation after the Cretaceous - Paleogene mass extinction event about 66 million years ago.

During development, chromosomes are subject to chemical changes that don't affect the nucleotide sequence but can turn genes on or off; the best known example is methylation, in which a methyl group is attached to specific DNA regions.

Sports journalists could better comment on movement sequences during a live boxing match or judo coaches could use it to analyze the fighting techniques of their athletes immediately.

She also knew that a well - designed robot has the «brain» to compute a softer landing, but hadn't yet optimized the sequence of motions that take place during a fall, like she and Ha were able to do in their latest research.

During that time she employed the sequencing technologies available at SciLifeLab as a customer, and was well aware of the center when the fellows position came up.

The sequence of climatic forcings and responses during deglaciations (transitions from full glacial conditions to warm interglacials) are well documented.

If you're unsure how to approach yoga during pregnancy, this simple sequence is a good place to start.

During the RR elicitation in the weekly session, the subject was guided through a RR sequence including: diaphragmatic breathing, body scan, as well as mantra and mindfulness meditation, while subjects passively ignored intrusive thoughts.

During the aforementioned animated sequence, Freeway is the hunted, but after a days - long stint in the woods, perhaps, he's the hunter, as well, a changed dog, belying the lack of physical wear - and - tear and noticeable trauma when Beth finds him.

I detected no split - surround elements, but the rears kicked in with a strong level of reinforcement during the deed sequences, and these complemented these scenes well.

I have a lot of problems with watching movies in 3D, especially action movies, and this was one of the few films in a while that actually held up well during the action packed sequences.

The supporting characters are usually an afterthought, but in Black Panther, they are so well drawn that they seem every bit as interesting, perhaps even more so, than the main protagonist himself, who is either mostly masked or obvious CG during his battle sequences, whereas we are always aware as the women fight, with full acting and facial expressions to root us into their fight in the moment.

It's a lot of skill and talent expended on a spat a good lawyer could probably have sorted out during the opening credit sequence.

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.

Film editors Michael McCusker and Dirk Westervelt not only knit together the action scenes effectively, they also maintain a good sense of momentum during the dramatic sequences, and enable the few comic moments room to breathe.

Its revival during the last couple of years with the songwriting of Pasek & Paul reminds us of how uplifting a well - executed screen musical sequence can be.

In fact during almost every sequence of rock spurting action I was impressed by the effects which also included some good model work and good matte paintings of the mountain.

Lead actor Hugh Jackman is charismatic and knows how to hold an audience's attention during a musical sequence but this is far from his best performance.

With Mr. Salinas and Greenberg's consent, I offer to kickoff our visit with an immediate impression during the start of the film that distinguishes it's score from Cartel Land's... it deftly emerges with warm, melodic cello and higher - notes vibraphone progessions from a dreamlike silence, and only registers as a lilting, tender counterpoint to the viscerally intense imagery of ISIS - occupied contemporary Raqqa, Syria in the picture's opening sequence well after we're already emotionally all - in invested via what will certainly be a harrowing, yet inspiring cinematic experience.

The smattering of action sequences during this portion of the proceedings fare better than one might've anticipated as well, with, in particular, one such moment possessing far more excitement and genuine thrills than anything contained within the first movie.

With many of the chase sequences between the detective and criminal occurring during the middle of the night, Wild routinely emphasized the dark blue and grey shades in many scenes to draw attention to the two characters» continued disdain for each other, as well as their own flaws.

Impressive instincts for camerawork are here as well, especially during the skateboarding sequences, but Caple has enough restraint to never become overtly showy.

The stewardesses are good during the crash sequence, I guess.

The game chugs a bit during intense sequences, and overly sharp object edges could stand a heavy dose of anti-aliasing, but the balance Crystal Dynamics has struck is good overall, and sticks around 30 frames per second most of the time.

It's a portrait of a man defined by being good at his job, not looking to play hero, and it comes through whether enduring tough questions from the NTSB, or — during the landing sequence, in the moments after reaching the dock — fending off a hungry media glare until he knows every passenger is accounted for and safe.

It's all very thinly held together by first - time director Paul Hunter, who does the best he can with the poor plot, but can't even manage to raise the pulse for the duration, even during what should be some incredible fight sequences.

Like all Besson films, «The Messenger» does not skimp on the aesthetics, especially during the first half - hour, which includes an almost hallucinogenic dream sequence best served on the big screen.

There is also some great fight choreography on - hand throughout the movie, especially during the escape and final showdown, granted much of it looks like a video game, but the character animation is all motion - captured, and Liebesman stages these sequence well.

During a well - choreographed opening credits sequence that favors time - hopping pans over quick cuts, writer - director David E. Talbert follows a young couple through the holiday seasons as they add four children to their family and, at some...

The movie works best during its extensive flashback sequences that explore Elise's troubled teenhood, a time when she grappled with budding sensitivities and an abusive dad.

Thanks to editor Doobie White — whose work is as good as the name «Doobie», particularly during that introductory sequence — Momentum certainly builds up a head of a steam.

It was previously confirmed during the post-credits sequence for Deadpool that Cable will appear in Deadpool 2, so the inclusion of Domino in the sequel as well makes sense.

The movie has a sequence during the end credits that's probably a little too clever for its own good; although in five years I might see it again and think otherwise.

In the film's best sequence, we find out how Mamere (Arnold Oceng) and his three friends are orphaned and left homeless during a brutal raid on their South Sudanese home.

It's one of the best sequences in the series to date, kicked - off with an incredible tracking shot before all hell breaks loose; alas, that energy dissipates during a bizarre title sequence that combines a Roger Moore - era naked lady montage with a touch of almost Lovecraftian soft - core tentacle scored to Sam Smith's tepid theme song, «Writing's on the Wall».

But renowned Hong Kong action director Woo puts a striking new spin on the chaos, using lots of slow motion, freeze frames, and dissolves during the many well - staged action sequences.

The film is at its best in the early going, during which the acting - technique - obsessed Arthur and Maurice attempt to con their way to free food; a wordless opening credits sequence harkens back to the best silent comedy, and one hilarious scene in a bakery is, as it turns out, the film's premature highlight.

More successful are the jokes that take place during those sequences, or — even better — the darker twists this film puts on them without an accompanying gag.

Even during more subdued sequences, the forward channels offered a nice blend of ambient sounds that seemed well - located and convincing.

The film's surprising sense of humor occurs largely during the Hollywood sequences, as Mendez recruits his old buddy and movie makeup master John Chambers (a hilarious and wonderful John Goodman), as well as veteran producer Lester Siegel (an equally enjoyable Alan Arkin), to assist in the creation of the fake production company and film.

From actors who can be seen breaking into laughter during takes, to the blatant delight with which Cate Blanchett purrs her lines and chews her scenery, to the exuberance of action sequences, to the spirit of Thor himself, Ragnarok rollicks along, riding laughter and zeal to definitely the most fun Marvel movie, and possibly the best one, too.

We have the Coliseum and the London Eye, but what really make the 3D work really well is the action sequences during the circus acts.

The extra footage is virtually unidentifiable without the aid of a marker — I noticed more arterial spray, especially during the amputation, as well as a greater density of chaos in the Israeli sequence.

Love is in the air and Hermione's amorous preoccupation with Ron (Rupert Grint) gets lift during a couple of well executed Quidditch sequences that lend harmless exhilaration to some of the film's otherwise darker set pieces.

But, they stray from that formula a little too often and bog down the proceedings with unnecessary exposition and motivations that could be best revealed during action sequences and not by bringing everything to a pace - killing halt.