Not exact matches
director Mike Mendez — that, while it has a charming sense of humor about itself, leans too heavily on CGI blood; The Girl With All The Gifts (B), a well - shot British zombie film that attempts to inject new life into a tired genre, and almost succeeds thanks to young star Sennia Nanua; and the disappointing Phantasm: Ravager (C --RRB-, a low - budget labor of love which, while it plays like a Phantasm fan film, ultimately undercuts the
emotional closure it attempts to bring to the franchise by failing to resolve the
central conflict between good and evil.
There is no
central conflict, past or present, to raise the
emotional stakes.
The film's
central conflict, on the other hand, can grab any person of nearly any age, so long as they have some
emotional investment in «the American Dream.»
It's a risky move that easily could have become a canard (I won't go into detail; it needs to be experienced cold) but successfully creates a new and wholly satisfying
emotional core that reinforces its
central conflict of creativity versus conformity and grounds it in a beautifully subtle and satisfying way.
Meloy's prose is clean, but not too spare, detailed without feeling labored, quiet, but never detached — all of which elevate the often piddling nature of the
central conflict to great
emotional effect.
Emotional intimacy may be most closely related to couples»
conflict as emotion regulation processes are
central one's ability to manage
conflict constructively instead of destructively.