This leads to heartstopping moments where you place your life in Trico's hands and vice versa, as the creature's idiosyncratic personality makes you never quite sure what's going to happen.
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The smile Viola Davis gives one of her costars in the last act is heartstopping because it's so hard-won, one of the few genuine expressions of warmth in the movie.
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And if Jane could get over Ryan's drunken, yet fairly chaste betrayal, then so could I. That is, I shipped these two until The Bold Type pulled off a twist so heartstopping, I literally spit out the cupcake I was eating at a midday snack (don't judge me, we're observing social distancing).
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In May 2016, new Emmerdale producer Iain MacLeod reveals Robert will heavily involves the big October storyline along with Aaron. Aaron and Robert will caught in explosive and heart-stopping twist. Iain says 'It's a massive, big storyline for Robron. It's funny, romantic and heartstopping in places.
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Tomahawk was released on October 30, 2001. The album was supported by a tour in which the band supported Tool; however, Tool's fans were unreceptive to Tomahawk and frequently booed their performances. Writing for AllMusic, Blake Butler rated Tomahawk four stars out of five, describing the album as "moody, violent, beautiful, sarcastic, vomitive, silly [and] heartstopping". Butler praised Patton's versatility, calling the vocalist "a complete and utter musical visionary, and a mind-blowing and standard-warping genius".
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The Forgotten Beasts of Eld has been reviewed by Locus as "a mythical kingdom fantasy with a marvelous heroine, satisfying strange beasts and chilling sorcery". Publishers Weekly wrote "this magical moonlight fantasy has dignity and romance, heartstopping suspense, adventure, richness of concept and language." Lester del Rey praised the novel as "a true fairy tale in its telling and its development," citing the "marvelous subtlety" of McKillip's storytelling and her "inevitable but unexpected" resolution of the story."Reading Room", If, September 1974, p.
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In a high-scoring match, Adelaide led by 31 points in the second quarter but were reeled in by the Hawks and Lance Franklin. In a heartstopping finish, Franklin kicked his seventh goal from beyond 50 metres with only seconds left, giving Hawthorn victory, 15.15 (105) to 15.12 (102), and ending Adelaide's season. Andrew McLeod won his third Malcolm Blight Medal in 2007, with Simon Goodwin finishing runner-up. McLeod was also Adelaide's only All-Australian representative, and was named captain.
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Gonzalez gave it an "A" and called it "pure perfection", but Benigno was more restrained with a "B+", and wrote "she hits a little too hard for my taste" and "the vocals … threaten to engulf the song itself". "My Man" was also lauded. Flandez called it "heartstopping", and Futterman summed up with, "she nails the Funny Girl closer, making it one of Rachel's top performances on the show". Berk called it "good singing" and gave it three stars out of five, and Gonzalez gave it an "A−".
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The News & Observers Elizabeth Ward listed Shiloh as one of the best children's books in 1991. She called the book a "heartstopping, but tough-as-steel story of a boy and an abused dog in the hardscrabble hill country of West Virginia". Author Timothy Morris deemed Shiloh to be the "most celebrated dog novel of the nineties". Michele Landsberg of Entertainment Weekly called Shiloh a "compelling read" and rated the novel an A. Equating Shiloh to classics like Charlotte's Web, author Laura Elliott praised the novel's "voice, suspense, and layer of themes".
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Sitting 10km (6mi) west of the town of Margaret River, the famous Margaret River lefts known as Surfers Point can be found, grinding down the reef. It is a peak in swells up to 6ft (2m) but Margaret’s is all about size and the lefts will handle plenty of that. Heartstopping drops, lumpy bowls and cutback walls are all part of the waves’ personality and it can handle a healthy dose of onshore wind, maintaining shape and some face smoothness for long, swooping turns. Watch out for speed bumps when cranking off the bottom and keep an eye on the horizon.
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Soon, the rest of the royalists catch wind of the blood-sucking creature loose on the grounds and begin desperate efforts to contain it, while a detachment leaves for the encampment to alert Torreblanca about what's happening. Back in the holding cell, the men's conversation about possible escape is cut short by sounds of screaming and agony coming from outside. Frightened by the soldier's retreat, they bang on the bars of their cell to no avail. After a few heartstopping minutes, Nando appears: he only pretended not to notice his brother to help him, quickly prying the lock off the cell.
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Though Athera may be free, the fight is far from over… The heartstopping conclusion to the Alliance of Light series brings Lysaer's army of Light to besiege the great citadel of Alestron. Master of Shadow, Arithon, with barely a moment's recuperation from his victory over the necromancers, has discovered that young Jeynsa s'Valerient whom he has sworn to protect, has joined the ranks of his disowned allies within the threatened citadel. Worse, following a failed rescue attempt, his beloved Elaira, his double, Fionn Areth, and the spellbinder Dakar are also trapped within Alestron's walls. The chancy wiles of Davien the betrayer must spirit Arithon across the enemy lines to attempt a bold and perilous rescue mission.
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Despite his mixed review for the associated album, Ben Beaumont-Thomas of The Guardian praised the song as one of the best Bon Iver tracks. "Its proper melody all the more tangible for coming after the mere simulacra before it; it has a subtle, powerful head-nod rhythm, and real bite to the scorn of its central lyric, 'full time you talk your money up / while it's living in a coal mine'," he added. Damien Morris of The Observer said that the peak of i, i happened somewhere around the heartstopping beauty of 'Hey, Ma's' drifting, wordless middle eight, a breakdown brimming with inarticulate emotion, barely understood, unmediated." In a less positive review, Jeremy D. Larson of Pitchfork called the song "doesn't quite tower and crash like the best of Bon Iver, Bon Iver and it doesn't really lead you to places unknown, but it places you firmly in the increasingly defined world of Bon Iver: sensitive and dreamy, warm synths and a few saxophones, capturing the feeling of escaping the present for an idyllic past.
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