Sentences with phrase «with death sequence»

The main comments were that most of you want the original point - and - click Broken Sword experience, with death sequence, overworld maps, and of course a colourful cast of characters!

Not exact matches

Thus I bind together this sequence into a chain that began with birth and ends with death.

«He» is the relatively abstract common feature of the sequence of states (or selves or experiences) that fit together in a succession that begins with conception and ends in death.7 Moreover, the primary bond that binds these states together into a distinctive series is that of sympathetic feeling, of which the two chief expressions are memory and anticipation.

So it's a sequence leading to death, with childbirth in the middle.

With that observation, an entire consistent sequence of events — the particle jettisoned from the uranium, the release of the poison gas, the cat's death — at once becomes real, giving the appearance of something that has taken weeks to transpire.

Classical pathological, bacteriological, serological, molecular, histological and electron microscopical methods were combined with high throughput microarray and next generation sequencing methods to undertake the most extensive and exhaustive evaluation of the cause of death of any zoo animal to date.

There was a great deal of variation in details of structure and condition of fairy circles, allowing circles to be categorized into a sequence from first appearance as a bare spot in the grassy matrix (birth), acquisition of a rim of tall bushman grass (with or without enlargement)(maturation), and revegetation of the bare area within the grass rim (death), and finally the disappearance of the grass circle, leaving an area indistinguishable from the matrix.

We report here the draft genome sequences of two antibiotic - sensitive P. aeruginosa bloodstream infection isolates that were associated with rapid death in nonneutropenic patients.

Well, Breath of Death suffers from the same ailment, with only two differences - you need to use a different Key (ENTER, in this case), and holding it doesn't work, so you need to be hitting it like a maniac in combat sequences.

Such concerns become moot once the picture passes a certain point, however, as Death Wish transforms into just the sort of unapologetically ruthless and violent thriller that rarely gets made nowadays (ie its very existence is a delightful novelty)- with the movie's second half boasting a series of gleefully over-the-top instances of R - rated mayhem (including an awesomely cringeworthy torture sequence involving a scalpel and battery acid).

Sirk's film introduces the two women in the following sequence as they're driving home after a Manhattan shopping excursion (with Barbara Rush as Joyce), just before they arrive to hear about Dr Phillips» death.

The one true action sequence is an early, airborne mess of a battle with the Death Eaters which Mr. Yates oddly blunders.

A dream - sequence reunion between Erik and his slain father (Sterling K. Brown) might count as the most affecting moment in MCU history — if not all of superhero cinema — were it not for Killmonger's final lines: «Throw me in the ocean with my ancestors that jumped off the slave ships,» he says, «because they knew death was better than bondage.»

As T'Challa / Black Panther, Chadwick Boseman commands every scene he is in whether it's the smaller intimate moments dealing with his father's death or the big action sequences.

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

The combination of nailbiting tension and suffocating stillness that characterised A Hijacking (Kapringen)(from which key cast members return) inflects the life - and - death mundanity of the war - zone sequences, while later stages echo the communal paranoia of The Hunt (Jagten), which Lindholm co-wrote with Thomas Vinterberg.

In the first of a series of lengthy action sequences, Max is chained to the front of an enemy car driven by Nux (Nicholas Hoult), a fighter with a death wish who later becomes an ally, while Furiosa, who has a mechanical arm to compensate for an amputation, is attempting to flee from and / or destroy that car — as well as an assortment of others (including one containing Joe's battle music, featuring a most dedicated guitarist).

Violence: This movie is pervaded with battle sequences featuring hand - to - hand conflict and weapons use (swords, axes, daggers, javelins), resulting in numerous deaths and injuries.

Miller's message is clear: if you need an action film with some deep, intricate plot to make the crazy death - defying sequences work for you, «Fury Road» is definitely not your kind movie.

An early bit featuring X-Force leader Cable, and an extended sequence featuring Deadpool's on - again / off - again love interest Death are of particular note, though these moments of goofy inspiration seem almost alien compared with the rampant idiocy and braindead gameplay throughout the rest of the game.

There it was: a death so traumatic in the Deadpool universe that it triggered its own James Bond title sequence, complete with Celine Dion ballad.

The scene begins with the shocking death of Bucky Barnes a.k.a White Wolf, and according to Sebastian Stan, he really thought that might be the end of his run in the MCU when they filmed the sequence.

The visuals conjured by Favreau and the cinematographer Bill Pope are consistently first - rate, from the intense action sequences — a stunning stampede of water buffalo, more than one life - or - death encounter with Shere Khan — to the moments of quieter beauty: a frog wiping a raindrop off its head; a regal simian cityscape; a recently shed snakeskin large enough to sheathe a school bus.

There is a great deal of spectacle, though, that makes The Death Cure an enjoyable enough experience for fans or those with low expectations - but perhaps a bit too much handheld camerawork in certain sequences to see this film in 3D or IMAX.

An opening dance sequence set in a Cleaver American Fifties features more stunt people, professional dancers, and trampolines than Cirque du Soleil, its artificiality setting the tone for the rest of the film, while the scene's conclusion (with the picture's hero trapping the celebrants in a giant dance hall, dooming them to death should a fire break out) serves as a pretty succinct summary of the film's feckless themes and carelessness.

Interrogation scenes are intercut with elaborate dream sequences and vivid flashbacks as it becomes clear that Teddy's conflated his presence at the liberation of Dachau with the death of his wife and his mission on the island.

Argento, co-writer Bernardino Zapponi, and various members of Goblin sit for separate talking heads in an information - dense piece (11 mins., HD) that confirms a few myths about the film, such as that it all began with the image of the psychic conference and that the elevator / pearl death sequence was inspired by a lift in Zapponi's building.

However — rather unsurprisingly, if you know what an onerous conundrum of uncalled - for incidents tends to surround Rick most of the time — due to an extremely unfortunate sequence of events, including but not limited to the vastly premature death of his Hollywood agent, a bitter though hilarious (to an external observer) dispute with his subsequent literary agent, the bankruptcy of his French publisher and other similarly torturous circumstances, Rick Harsch's tenacious infiltration of the world literary canon has been on a rather involuntary and undeserved hiatus of late.

In layman's terms, this means that the more times dogs are bred with members of their own family in sequence, the greater the risk there is of the death of puppies in a litter prior to their birth.

Take the recent Risen 3; at the very start of the game there's a sequence where two ships are side by side, cannons blazing and men fighting with swords to the death.

In the video we kick off with an action sequences before doing some honest - to - god tomb raiding, along side climbing ruins and avoid death at every turn.

Newcomers to the fighting genre can jump in and learn the basics quickly enough, the flashy and fast combat creating a satisfying feedback loop, while the window for the infamous Fatalities is larger than ever, so almost everyone can end a fight with a grisly death sequence which are now portrayed in more beautiful graphical detail than ever.

Sound effects have a distinctly 1980s flavour to match the visuals, with death and power - up chimes amounting to little more than a cascading sequence of bleeps and bloops.

Though the comic book - style sequences are decently drawn, they constantly drag on by showing Marian's death over and over, Billy's distraught rage over losing her (again played out with hilariously awful voice acting), and other eye - rolling sequences such as remembering the time he bought her a necklace or recovering her stolen cell - phone (with a bullet hole right on the screen showing another photo of the couple).

«Tragically» may be an exaggeration, as are the numerous cutscenes that hamper on the subject of Marian's death; while the original game was innovative with its controversial murder of the main hero's girlfriend at a time when fictional character deaths were uncommon in videogames (even the NES version did not skimp on this detail), Wander of the Dragons force - feeds you with endless sequences that make the subtle character death feel cheap and exploitative.

Limbo was known for its disturbing death sequences when the player failed to avoid danger and INSIDE pushes the ante up further with its own slew of gruesome endings.

In one of these sequences I died thirty times, and was having a blast with each and every death.

To advance in the game, the player must interact with objects in the scene in order to solve the puzzle, triggering a sequence of events that will result in the death of his victims.»

There are some slight jump scares and some truly distressing creepy crawlies to see, but the bulk of the gameplay here is made up of long combat sequences with a partner who pretty well revives you immediately upon your death, leaving things inherently less scary.

The game is built around this humor, and while some may find it a bit much, it's clear the team at Arkedo doesn't really give a f ***, packing the game with constant chuckles from the dialog to the death sequences, leveraging running jokes, amazing animation and mini-game driven finishing moves that will threaten to unhinge your eyeballs at every monster mashing in the vein of a cracked - out Ren and Stimpy episoode.

Jotun begins with a short intro sequence, detailing the death and potential redemption of the protagonist Thora.

There are platforming sequences, but they're all essentially just bad QTEs — there are no explicit button prompts, but the passages are completely linear and every time Yaiba has to jump or grab a hook with his chain to swing around, the game goes to slow motion and the next step in his way flashes up, so there's no need to figure out how to go on and no challenge, really, except the deaths that arise from the game's arbitrary distinction whether it wants you to press the jump button to smash a wall in midair or not.

The sequence, a prolonged celebration of death, felt like that bit in Old Boy where the lead works over a bunch of punks with a hammer.

Agreed with the general feedback of wanting it traditional point and click adventure with timed death sequences.

My father, who is 64 and has never played a platformer in his life (he plays turn - based strategy games), has just finished the first escape sequence in the Ginso Tree, with a death count that compares favorably to other players.

Additionally, there are a number of action sequences (Quick Time Event challenges) where you need to escape death quickly by following onscreen directions with appropriate key presses, though these moments are far and few between.

«As with living organisms, it is repetition of birth and death, death and birth, yet it must be sequenced so each movement is unique and separate.