Sentences with phrase «character focused action»

The reports indicate that the title will be open world, character focused action RPG.

Not exact matches

In books and movies, narrators skip over certain events or actions to focus on others that are more important or directly affect the story's characters.

Many of these creation imageries are found in the agricultural parables which focus on similarities of natural processes and the working of the Kingdom of God, unlike parables with human characters that center around human actions.

But, where mainstream critics took issue with an uneven script, Focus on the Family's «Plugged In Online» took issue with the main character's actions not being up the Boy Scout code of conduct.

«First, it tells game designers that they may want to focus their content development efforts on actions consistent with character roles, and spend less time on content that players are unlikely to use.

Rather than coming off as an empty paean to the fans, though, the filmmakers» desire to focus on the characters as real people even in the midst of pitched battle keeps even the shallowest viewer of the series engaged in what could have easily been just mindless action set pieces and explosions.

It is quick and nonstop action for one, but the foundation and focus is on character improvement.

With an unhurried pace and a focus on character over action or plot, this film takes us into the mind and life of a hardened assassin and follows the story to its natural conclusion.

With just three weeks to go until Peter Rabbit arrives in US cinemas, Sony Pictures has released two new character featurettes for the upcoming live - action / CG - hybrid focusing on Daisy Ridley's Cotton - Tail and Elizabeth Debicki's Mopsy; check them out here...

This time around the action will focus on the character during a much earlier stage of his career, and will show his transition from marine to CIA agent.

Final Verdict: Logan is a film that steps away from the action and focuses first and foremost on the incredible character it has been given, creating a memorable final venture that will stay with you for some time.

But when it puts down its copy of «Political Philosophy for Dummies» and focuses on character and action, «Tomorrowland» is a blast.

His masterful composition of muted colors and tense but understated score, his visual focus on the characters rather than their actions, and his subtle but powerful use of camera elevate this story above its exploitative trappings.

His camera lingers on the actions and reactions of his characters in the wake of the repercussions, observing the human story behind and beyond the headline events with microscopic focus.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

10:00 PM — 11:00 PM» focused a lot on the characters and story rather than pulse - pounding action, though the final few minutes -LSB-...]

Although the title suggests the possibility of an exercise in the pre-digested, pre-fab cynicism which seems to be a staple of contemporary American cinema, this action film focuses on its people as much as its action, and a good deal of its power comes from the way its sharply etched characters develop in various convincingly observed milieux.

That Oscar nominee Rinko Kikuchi, a third minor return from the original, is given short shrift, suggests that most of the characters exist merely as vain stereotypes given simplistic narrative focus that evaporates once the action comes into full focus.

That approach includes focusing the spotlight on Evans» character (who leads a rebellion aboard a futuristic train that houses much of humanity in the film's wintery dystopian setting), in order to better utilize his star power as a selling point - in addition to emphasizing the movie's action beats, as accompanied by the expected dramatic musical cues in the post-Inception age of trailers.

This story should, first and foremost, be a character piece focused on Domino and the bounty hunter world; the action in this script acts as a pay - off to those wanting more than a biopic.

Christopher Robin The owner of the lovable Winnie the Pooh will be the focus of this live - action remake of the colorful characters that inhabit the hundred Acre wood.

This shifts the focus more onto Tomb Raider's character drama, as opposed to relying solely on the action to sell the film.

The first video focuses on the action the game provides with different character types, weapons, spells and more taking on lots of baddies.

When it falls into conventional storytelling it is a sloppy, middling action film with lazy focus, bland characters, misses all its comic beats to the point the audience was laughing more at the fart jokes, which weren't even well timed either.

Where Peter Berg's Patriot's Day took the action movie tack, focussing on law enforcement and an admittedly ridiculous compound character played by Mark Wahlberg, here the focus is very much on a single individual's own response to the events and how they both physically and spiritually shaped him afterward.

In the opening minutes, the physical chaos and shouts of desperation from Auschwitz - Birkenau surround Saul in soft focus, hinting at a terrifying bigger picture while keeping the action rooted in its main character's personal conundrum.

Jon could have been a pure straight man — our portal into the insane world of Frank — but Gleeson brings just the right degree of charm to the role to make him feel well - rounded without stealing focus from the title character or the action of the piece.

It focuses more on Steve Rogers the character before kicking the action up to 11, in full 3D.

Rossi wrote a script exploring the most gruesome depths of repressed grief, Morano certainly pulled it out of the actors and added further intensity with her blurry focus and pore - revealing intimacy in almost every scene, throw in the ear - assault and too - serious actions of the characters and it stops being insightful and starts being a bit scary.

Watching «The Amazing Spider - Man 2» made me long for a low - budget, indie version of the same movie — one that took out all the numbing action sequences and focused instead on the character's inner struggle.

All the supporting cast are great and take full advantage of a very witty script that has a lot of heart and focuses on character development rather than action.

While the clips we saw were focused more on plot and action than on the characters or the overarching themes, we saw enough of the Covenant crew to make me look forward to getting to know them better.

The trailer is more focused on showcasing action clips, whether it's showing the U.S.S. Enterprise being torn apart by swarms of tiny spaceships (forcing its crew members to escape and land on a mysterious nearby alien planet) and / or highlighting the fighting abilities of the extraterrestrial character played by Kingsman: The Secret Service's Sofia Boutella - who, by the look of it, joins forces with Captain James Kirk (Chris Pine) after the Enterprise crashes and its crew members are separated.

The latest trailer shows that while there's a fair amount of action, there's a heavy focus on the character drama as well as the prequel series» fatalism since we all know that humanity is ultimately doomed in these movies.

Developed by Techland, Dead Island combines first - person action with a heavy focus on melee combat, character development and customization of a vast array of weapons.

Just as the drifting film begins to grate on one's patience, a brief but crucial action occurs that hones the wan character building into sharp focus and changes character relationships, perhaps permanently.

While Royale had more of a focus on the story and characters, Skyfall isn't afraid to let those take a backseat to the action when the film calls for it.

If only he could deliver when the film needs that shot of adrenaline for the action scenes as he fails to connect us to the immediacy of the moment as characters get overrun by avalanches of poorly - animated CGI zombie hordes while keeping the focus on Gerry, the one character we're all but assured is safe.

The first is a text - based and geared towards elaborating the various philosophies introduced by the characters, while the second, a screen - specific yakker with Linklater, animation producers Bob Sabiston and Tommy Pallotta, and star Wiggins, focuses on the seeds of the project and the execution of the raw, live - action footage.

Even when we are in the middle of an action sequence, the camera is always more focused on the characters than the guns.

Dead Island combines first - person action with a heavy focus on melee combat, character development and customisation of a vast array of weapons.

This is a shame since, much like the first film, this sequel managed to flawlessly combine creative and visually stunning action sequences (with a strong focus on practical effects over CGI), cool characters, and a well - told storyline that wouldn't have been nearly as interesting in another filmmaker's hands.

The comedy is more focussed on action sequences than characters this time, so it's not nearly as satisfying.

Ricky Church reviews Doomsday Clock # 3... One of the best aspects of the original Watchmen series is that it is a slow burn, taking its time to advance the story or get to an action sequence and instead focusing on the characters» complexities as well as the deepening mystery.

Hairy encounters with wild boars and tension - stoking chases (fronted by a gamely OTT Rachel House as child - services nutjob Paula) should silence any MCU mavens concerned about Waititi's ability to combine action with focused character investment.

Abrams has a keen eye for visuals throughout the film, displaying a great sense on what to focus on whether it's the action or quieter character moments.

When they opt to zero in on the actions of a single character, as they often do, the grand spectacle is dropped for a fairly routine focus on run - of - the - mill heroics that predictably exist to manifest the conclusion of a painfully telegraphed arc that not even John Powell's triumphant score can lend gravitas to.

Moverman is a good director, but by remaining so relentlessly focused on a single character, the movie provides no context for his actions and certainly no enlightenment about the culture of corruption that engulfed the Rampart Division.

By focusing on the effects of one man's violent actions on his psyche as much as the actions themselves, Ramsay gives us a laser - focused thriller closer to Herman Melville than the usual Hollywood fare, where the character takes centre stage.

Orlando Bloom's iconic Legolas is somewhat disappointing in this latest installment, as is Ian McKellen's brief involvement as Gandalf, but this is to be expected with the script focusing so much more on assailing us with erratic action scenes than portraying the complexity of these characters.