Sentences with phrase «with classic sequence»

These A-line frocks are garnished with intricate embroideries on the necklines, front border of the dress and back side of the dress is also decorated with classic sequence work.

Not exact matches

The combined corrected uplift at Campi Flegrei (with intervals of stasis removed) also follows the classic elastic - brittle sequence for deformation in extension (Fig. 5).

Vinnie's vinyasa flow classes are a creative and surprising blend of his offbeat personality, classic - rock taste mixed with challenging sequencing and a strong focus on alignment.

While Srishti wore the classic denim look with a patched denim jacket and a sequenced tee, Shivi went for an edgy look with a patched LBD layered with a metallic bomber jacket.

The sequence might have just as easily used some pleasing blur of classic pop, just because that's what's usually done, and why mess with formula?

The final sequences are worth the wait, though, bringing together the story's many threads and offering the classic closure of a young man coming to terms with his identity.

Classic US series Star Trek, NCIS, CSI, Walker, Texas Ranger and Dexter and with their heroic characters and edge - of - your - seat action sequences, will excite viewers who demand their TV with thrills.

«Solo» is a straightforward piece of pulpy entertainment with some very agreeable performances from Ehrenreich and Glover, who seems to be having the most fun of all the actors in playing up Lando's suave demeanor, and fun classic Western flourishes, despite the excessively big action sequences.

With Jacqueline Bisset, Robert Vaughn, Robert Duvall, and a chase sequence that achieved classic status mainly by going on too long; Peter Yates directed this 1968 feature.

Knack's size - shifting ways comes into play with classic platforming action, allowing players to take advantage of his abilities in order to move past revolving platforming sequences.

According to the press release, Narco Terror is «a sophisticated, action - packed twin - stick shooter that thematically harkens back to classic action movies from the 80's and offers great diversity with several arcade gameplay sequences.»

4 Rank, minimum, on any list of live - action holiday movies with classic Claymation sequences.

The wasps themselves feel like Xenomorphs in their growth (infecting a human body and exploding out of them) and there's a sequence towards the end that mirrors Ripley's classic silent showdown with the Alien Queen.

The idea behind the branding relaunch was to take Channel 4's classic block construction logo, reinvent it, with Glazer shooting a variety of landscape and nature - driven sequences (another tradition for the network) to be paired with it.

The title is a riff on the classic James Bond movie The Spy Who Loved Me (released 1977), obviously, and the trailer plays like a Bond movie with the cool animated title sequence and all of that.

That Flesh and Bone — a doom - filled piece that glowers with malevolence from its horrifying opening sequence to its unsettling conclusion — never received a great deal of attention upon its initial release isn't as much of a surprise as the fact that not even the passage of time has cemented it as a minor classic.

The movie respects the tradition of painstakingly drawn animated classics, and does interesting things with space and perspective with its wild action sequences.

It is a fun and whimsical film which combines live - action sequences with a blend of genre (expressionism, fantasy, melodrama) with an animated sequence of the classic tale ««Appointment in Samarra».»

Worst - case scenario: You arrive extremely late, miss the consistently enjoyable road - trip and gambling sequences (which genuinely do recall Altman's classic), and are left with the film's disappointingly pat finale as your strongest memory.

THE CRESCENT Featuring the best opening credit sequence of the year, and the most risque playing with audience tolerance, The Crescent is nonetheless a triumph in hallucinogenic nightmares in the vein of bonafide classics such as The Shining, Carnival of Souls and The Babadook.

Although not critically well received, Antonioni's cult classic remains a milestone of psychedelic filmmaking with its beautiful desert landscapes, hypnotic fantasy sequences, and a tailor made soundtrack from artists such as The Grateful Dead and Pink Floyd.

You can, believe it or not, see some of Leitch's affinity for the silent classics in Deadpool 2, a movie that often blends action and comedy with visual wit and efficiency, offering an unexpected new angle to a sequel that returns with the expected load of R - rated snark and in - jokes for movie buffs (Celine Dion sings over the opening sequence, which invokes everything from Bond movies to Flashdance.)

Aside from some clever 2D black - and - white sequences meant to show what goes on in Sherlock's head, the overall un-inventive animation doesn't help to pique interest or make this seem anything more original than an excuse to fill the soundtrack with a few Elton John classics, as well as a couple of new tunes written by the musical superstar and his longtime lyricist Bernie Taupin.

It will all come in handy as Joe finds himself constantly embroiled in one violent situation after another, ranging from the slow torture of his former jailer (Samuel L. Jackson with a fetching poodle cut), to a send - up of classic chop - socky action sequences pitting Joe against a horde of oncoming assailants armed with everything from guns to 2x4s.

However, since the start of the 2000s there has been a huge surge in supernatural action films that have taken classic movie monsters and combined them with over-the-top, extremely stylized fight sequences usually consisting of leather - clad women.

There are nods to classic silent film sequences throughout the film, with nods to The Marx Brothers» Duck Soup (1933), Harold Lloyd's Safety Last!

Yet, for a child inspired by the classic monster movies from Universal Pictures growing up, the writer / director has never had an opportunity to realize his dream of remaking The Creature from the Black Lagoon, which featured the prehistoric Gillman (Ben Chapman on land, Ricou Browning for the underwater sequence)- and his fascination with Kay (Julie Adams), who is part of a group of scientists on an expedition in the Amazonian jungle.

A classic cocktail of mystery, suspense and paranoia, Guillaume Canet's Tell No One is a tense thriller with a knotty plot that harkens back to Hitch in its themes while satiating modern audiences with its brisk narrative momentum and elaborate action sequences.

Greg described it as a «six line, 20 syllable poem with a syllable count by line of 1 / 1/2 / 3 / 5/8 — the classic Fibonacci sequence.»

«The series wonderfully updates the classic sci - fi property with cinematic action sequences and sleek character designs.

The Megamix begins with those familiar examples but shows a total of 12 games in its four minutes, like a quick clip of Nintendo's classic Punch - Out, a memorable scene from World of Warcraft, and even the docking sequence from Elite.

When the bloodshed subsides, and you're met with each of the many story sequences, the compositions are calm and classic, a staple in all Fire Emblem titles.

The space combat sequences play out like a lighter, streamlined version of Wing Commander or other classic space sims, with players having access to two main weapons and a subweapon, and a lock - on system that takes out the difficulty of chasing and shooting at the same as it puts the Jackal on autopilot so that players can concentrate on shooting.

With a familiar Fast and Furious theme to it, the visuals of last year's title but with some sunshine, collectable classic cars to find like in Forza Horizon, the crash sequences of Burnout, and... [Read MWith a familiar Fast and Furious theme to it, the visuals of last year's title but with some sunshine, collectable classic cars to find like in Forza Horizon, the crash sequences of Burnout, and... [Read Mwith some sunshine, collectable classic cars to find like in Forza Horizon, the crash sequences of Burnout, and... [Read More]

- Heavily conscientious level design - Metroidvania progression - Classic open - world Overworld and Dungeon format -16-bit graphic and audio style -8-voice Chiptune and lofi sample soundtrack - Classic 8 - way and 4 - way navigation modes for gameplay - Enemy design invoking original standards of 16 - bit era - Intense, brutal bosses which require learning and observation - Highly challenging combat sequences with a high skill ceiling - Puzzles built around observation, item use, and sequential logic - Complex trading system to obtain optional items - Customizable playstyle based on which items player obtains and equips

In lieu of the classic Mario platforming, these segments dropped players into thoughtful puzzle sequences that could be mistaken as a stand - alone game mixed with the regular levels.

This update also alters the font and dialog box graphics for «a more classic look and feel,» and changes the order of the opening animated sequences to bring them in line with earlier versions of the game.

Is based on the entirety of the «classic trilogy» (Star Wars IV - VI)-- «Luke and Leia tangle with Darth Vader and his forces through memorable sequences, including the battle of Yavin as well as time on Hoth and Tatooine.»

Selections from Albers's own writings, including classic texts such as «On My Painting,» «Color» and «On My Homage to the Square,» mingle with essays by well - known Albers scholars Nicholas Fox Weber («Minimal Means, Maximum Effect») and Jeannette Redensek («On Josef Albers» Painting Materials and Techniques»); meditations by Norwegian artist Dag Erik Elgin («Preparing for Painting to Happen»), Eva Diaz («Jailbreaking Geometric Abstraction,») and Doug Ashford («Dear Josef»); and a collage sequence by Andrea Geyer that pays homage to Albers's prints.

James Huginin's most significant painting to date has been exhibited with a drawing by Agnes Martin and a classic still - life by Giorgio Morandi as part of and per se and, a rolling sequence of exhibitions, in July and August 2017.

Selections from Albers» own writings, including classic texts such as «On My Painting,» «Color» and «On My Homage to the Square,» mingle with essays by well - known Albers scholars Nicholas Fox Weber («Minimal Means, Maximum Effect») and Jeannette Redensek («On Josef Albers» Painting Materials and Techniques»); meditations by Norwegian artist Dag Erik Elgin («Preparing for Painting to Happen»), Eva Diaz («Jailbreaking Geometric Abstraction») and Doug Ashford («Dear Josef»); and a collage sequence by Andrea Geyer that pays homage to Albers» prints.