Sentences with phrase «with plot»

As with many genre flicks, the action is the real star, with the plot more substantial and performances stronger than usual.

It also is consistent with the plot of the 1952 pulp fiction novel of the same name upon which both movies are based.

Lillie and Hau may seem like your generic Pokécast, but they're more nuanced and detailed than ever, with plot twists and turns delivering a surprisingly heartwarming and epic story — one that I don't think Pokémon has ever achieved before now.

to be a pretty smug film riddled with plot contrivances that just left me cold.

Over the past few days we've had a batch of first - look images from Thor: Ragnarok, along with plot details for the Marvel blockbuster, and comments from Cate Blanchett on her role as the new villain Hela.

The Death Cure is riddled with plot holes: a lot of the time the good guys» plans revolve around specific people being in specific places at specific times.

The first set of women are so fun to spend time with, just bantering and setting up the scene, that we can happily just watch them chew up Tarantino's cleverly crafted dialogue and inch forward with the plot.

With a plot like DAYBREAKERS the viewer is already well aware of the inevitable action to come from a race against time and a race for survival.

I found The Artist to be a pretty smug film riddled with plot contrivances that just left me cold.

And there's a sense of freedom in the script that could only work with a plot this wacky (for example, when Elvis encounters a couple of Elvis impersonators at an airport it seems, well, believable!).

Sarah's arrival coincides with a plot to strike back at a pharmaceutical giant; also on the agenda is an attack against a company that's been dumping its toxic waste into heretofore clean rivers.

Occasionally, iZombie has an episode that is so overwhelmingly packed with plot that it essentially throws out all of...

Moving a superhero from another era and pitting him against his morals and beliefs with a plot that mirrors an extreme version of our own world is very risky, but it pays off here.

With the plot set to be about a talk show host (ideally played by Franco) and his producer (Rogen) finding themselves in a world of trouble after they become involved in a plot to assassinate the prime minister of North Korea

However, don't think that Jaws is obsessed with plot, plot and more plot to the expense of other factors.

This movie is ridden with plot holes, it has an unacceptable amount of logic issues, Mystique's costume is distractingly fake and silly looking, Anna Paquin gets a title card yet is in five seconds of the movie, multiple story beats are repeated and the narrative puts into question everything that's happened in previous «X-Men» films, but, if you can get past the fact that the «Days of Future Past» narrative is downright ridiculous, you can still enjoy some of the mindless, summer fun — and Quicksilver's sequences, because that's high quality cinema right there.

It's easy to see that Johnson has a deft touch with plot and narrative.

The movie begins with a plot involving some military types attempting to train Aliens to do their bidding, but once the creatures break free, it is once again Ripley and a ragtag crew (this time a bunch of interstellar smugglers, including tough waif Call, played by a game Winona Ryder) trying to exterminate them.

It's a serious blast, with a plot that zigs and zags (but only because it sticks, within reason, to the facts), and a cast of characters who are so eccentrically scuzzy that maybe no one could have dreamed them up.

«The Room» tells the story (I use the term loosely, as the script is a mishmash of many unexplained developments and characters, with a plot even more out of focus than the camera) of Johnny (played by Wiseau, and Franco as Wiseau in this version), a successful banker who has a fiancee named Lisa (portrayed by Ari Graynor), a best friend named Mark (played by Dave Franco as Greg Sestero), and a teenage protegee of some kind named Danny (played by Josh Hutcherson).

With the plot so ludicrously convoluted, it's up to the actors keep us entertained, and they're a mixed bag.

Not always with plot or characters (though that's obviously still a part of it), but quite often with tone, mood and set.

At the same time, modern day Assassins are looking for the same artefact as Evie, with this plot thread shown through a handful of short cutscenes that will make you think fondly of the playable Desmond sections of old.

OK, but what's fun about seeing a KGB thug beat a guy to death with a skateboard in a scene that doesn't have much to do with the plot?

But the combination of sadness, fondness, pity, and forgiveness that plays over her face is nuanced and adult and alive in a way that has nothing to do with plot development.

While perhaps a touch overlong and with plot strands that don't hang together as well as they might, this is remains a triumph, illuminated by a terrific leading man turn from Paul Giamatti.

As he showed in his first film, LaBute has penchant for sharp dialogue and deft characterization but is less concerned with plot mechanics and visual mise - en - scene.

It's not perfect by any stretch, but it marries puzzles with plot, hitting the emotional notes perfectly.

The film gets needlessly bogged down with plot particulars, radiation and stockpiles, when all it really has to do is solve and avenge the girl's death.

Taking the plane to Entebbe, Uganda, they are certain the Israelis will be forced to negotiate with kidnappers for the first time in their country's short history, all involved with the plot feeling that Prime Minister Yitzhak Rabin (Lior Ashkenazi) will be unlikely to send troops onto African soil in order to rescue the hostages.

First we have pop culture jokes, which are unavoidable, and I'm not a «South Park» snob who won't laugh at a pop culture joke that has nothing to do with plot, although I wouldn't say Apatow is breaking new ground here by making the one - off joke about how Robin Williams is hairy.

Despite the comedicly unique relationship between Tonto and John, as well as the stunning the make - up and costumes, that Verbinski creatively highlights in the film, screenwriters Justin Haythe, Ted Elliott and Terry Rossio unfortunately at times infused the script with plot holes and uninspired, cliched dialogue.

The film's gimmickry becomes increasingly obvious because the storytelling is malnourished, with a plot that's an excuse to string together cool stuff like alien weapons that liquefy targets into visceral splatter (that and New Zealand get you Peter Jackson) and a robotic super-suit with a holographic display.

An endlessly surprising, very dark, human comedy, with a plot that can not be foreseen but only relished.

And it's good that Blind Sun has these positives, with plot being minimal, as well as action.

Dead Rising 3 may lack the emotional storytelling other games have, but it's not really interested in wowing you with plot, it mostly is just giving you another reason to go somewhere and kill more zombies.

Writer / director / producer Cameron Crowe («Jerry Maguire,» «Almost Famous»), whose frothy dialogue is always inventive, goes nowhere with the plot.

And the result is enjoyably creepy, keeping the audience off - balance with a plot that's impossible to predict and plenty of shocking mayhem along the way.

Through the series» first three episodes (it debuts Monday night at 10), Good Girls itself winds up facing the same dilemma as its three title characters, fighting against the implications of actions it hasn't entirely thought through, with plot choices often creating more problems than they solve.

It's hard to get too critical with the plot as the game seems pretty self - aware, almost taking pride in being bad and grotesque at times.

The script is dense with plot complications and tight spots that the hero and anti-hero must escape from.

However, the comic book character Thanos will serve as the main antagonist of the film, with the plot revolving around the Infinity Gauntlet and the six Infinity Stones.

In less assured hands, a movie called «Prisoners» with a plot like this would be an invitation to disaster, heavy on self - conscious allegory, symbolism and moral debate.

But even when you figure that out, you get hit with another plot twist whammy.

However, Anderson's screenplay is so overstuffed with goofy characters and showy dialogue that «Inherent Vice» is not only hard to follow along with the plot, after awhile you just don't care.

This trailer goes more in depth with the plot and especially Ant - Man's powers, and it all looks fine.

With a plot so deeply focused on the idea of breaking free from constraints placed upon us by time - honoured tradition, Insurgent's overriding inclination is to play it safe.

If you're reading this review you're almost certainly familiar with the plot and premise of Rogue One, and Disney has also specifically asked the media to avoid spoilers, so we'll respect the request and tread lightly on summarizing the story.

Forster doesn't get a lot of help with the plot, which constantly shifts tones and lacks cohesion due in no small part to the film's massive rewrites — four screenwriters (including Damon Lindelof, who botched last year's underwhelming Prometheus) are credited and you get a sense of the confusion.

But about 25 minutes in, another film begins and leaves this one behind, instantly transforming Crying with Laughter into a breezy «mystery» thriller with plot holes.