Blunt's take on Norah is marginally less successful, although she certainly does an adequate job of Norah's conflicts and destructive personality traits, while allowing her moments of truth, particularly in scenes shared
with flashback sequences of her mother.
Not exact matches
After seven movies of playing Severus Snape
with slimy and malevolent aplomb, Alan Rickman is finally given the chance to imbue his character
with some genuine emotion — the
flashback that reveals his tragic history is easily the most moving
sequence in the film, if not the entire series.
He separates each
sequence with a series of
flashbacks, fully detailing the wedding chapel massacre that began it all, as well as the Bride's not - quite - tongue - in - cheek training
with white - haired kung fu master Pei Mei (Gordon Liu).
Through
flashbacks, dream
sequences, and real - time encounters, Alex interacts
with the people who have shaped his life — his parents (Marla Gibbs and Billy Dee Williams), his old friend (Rae Dawn Chong), and his therapist (Phylicia Rashad)-- and attempts to overcome the seething anger and resentment that have punctuated his time in prison.
Flashbacks and dream
sequences tell the story of Ray's childhood, her father, and the surprising way she coped
with his actions.
The
flashback sequences — especially the ones featuring an enigmatic Laura Dern as her mother — are a nice break from her hiking adventure, and sport a dream - like quality,
with quick flashes and lots of camera movement.
The
flashback sequence was shot during the 2010 Tomatino festival
with Swinton in the middle, gloriously wide - screen and slow motion.
The introduction to the character is a ten - minute
sequence, itself
with an overextended
flashback, and after the initial shock and fun of watching Depp wears off, I started wishing to get back to the man - walrus.
The addition of several
flashback sequences revealing a much younger Max (played by Freddie Highmore) is a nice touch, but it doesn't offer anything new about his relationship
with Henry that the audience doesn't already know.
Though it has a lot of fun playing
with slasher tropes and cinema in general (showing the way Max and her friends are affected by elements like musical cues, monochromatic
flashback sequences and slow motion within the fictional movie), the film isn't funny or scary enough, ultimately becoming a victim of its own satire due to its insistence on preserving the genre's traditionally bad acting and writing.
The
flashback is heavy on CGI, and it features a very unique style of lighting to blend in
with the dream - like quality of the
sequence.
This may seem like the start of a great time at the movies, but unfortunately, the next forty or so minutes is filled
with flashback that give new information to the opening
sequence of the original, following kidnappers (not the one I first mentioned, but a second), and many attempts to explain the reason for why the movie exists.
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.
Then Twohy starts layering in
flashbacks to fill in the back - stories, up to an extended black and white
sequence that sorts out the loose ends and sets things up for the frantic, action - charged climax.The first half of the film builds the atmosphere perfectly, establishing the characters
with economy thanks to a clever script and an especially strong cast.
The story is interspersed
with truly bizarre
flashback sequences shot in black - in - white that look like they were filmed
with hand - held Super-8 cameras.
The explanation makes even less sense when the details are doled out in a
flashback sequence, complete
with a narration that explains the hunch about what happened to the woman is correct.
The movie comes complete
with Bergman's requisite
flashbacks and powerful dream
sequences.
That sad fate befell Kaylie and Tim's parents (Katee Sackhoff and Rory Cochrane), whom we see in
flashback sequences interwoven
with the siblings» present - day attempts to conquer this evil piece of furniture.
The story of «Alex & Emma» is simple and,
with the exception of various
flashback - style
sequences into a novel - in - progress, makes me think this was originally written as a play.
Chock full
with clunky life mantras and faux sepia
flashback sequences there is a distinct made for TV feel about the whole affair.
Thus far, reports are claiming that the R - rating is for violence not sexuality or nudity, so if there is a Killing Joke
flashback sequence, it would just be violent, it wouldn't necessarily go full Killing Joke
with it.
In a
flashback sequence, viewers witness a childhood trauma
with a wild horse which, supposedly, serves to explain his sadistic fetish for bridles and bondage.
Though she doesn't crack the case — instead, like in Ocean's Eleven, we learn Jimmy got away
with the money through an elaborate
flashback sequence — she does make an appearance at Clyde's bar at the end of the movie.
Doneen fills in some of these gaps
with documentary footage from past BBA raids and also
with beautiful
flashback animated
sequences from Jason Carpenter, who did similar duties on Guggenheim's He Named Me Malala.
Though it opens
with a series of fairly needless
flashbacks, Friday the 13th: Part 2 quickly segues into a surprisingly suspenseful pre-credits
sequence detailing the doomed exploits of Friday the 13th survivor Alice (Adrienne King).
It's a colorful film
with cartoonish but likeable characters, and the
flashback sequences add some good visuals to break up the sparseness of life on the farm.
The film opens
with a bang as Janet points her gun directly at the camera to an unseen figure, only to
flashback to show us how the
sequence of events came to conclude so shockingly.
There are reports that Peggy Carter will be back for the sequel,
with Hayley Atwell reprising the role in the 1940s
flashback sequences.
Bettany's post shows Vision
with the Mind Stone still in his forehead, which could indicate that Vision survives Avengers: Infinity War — or that he appears in a
flashback sequence.
Perhaps all would be forgiven if M: i: III were competently - directed (while M: I - 2 is one of the stupidest films ever made, as John Woo is one of the best action directors of the past twenty - five years, damn if it's not beautiful, coherent, auteurist stupidity), but it's a glassy - eyed, dead thing complete
with superfluous
flashbacks to events we don't care about involving characters we don't recognize, an interminable party
sequence in which Cruise trots out his smile like it was a weathered, beaten - down trophy wife, and a smug, self - congratulatory conclusion full of high - fives, victory arms, and shit - eating grins.
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.
Koepp assembles backstories
with flashbacks to earlier in the day, but the film moves
with pedal propulsion along
with numerous chase
sequences made
with stunts, rather than visual effects.
It is
with the Kilo Squad telling their story where the
flashback sequences come into play as you relive in - game each part of the Kilo Squads reasoning to Loomis.
Uncharted 3's plot isn't quite as good as UC 2's, but it has the best
sequence in series history
with a
flashback to Nathan Drake's younger days.
This elderly gentleman recounts his time spent
with the massive creature named Trico, which makes this game more of a playable
flashback sequence.