Sentences with phrase «character or pacing»

Not exact matches

It was fun to escape the fast pace of Manhattan, which although intrinsic to its character can be overwhelming at times, and be somewhere else (or someone else) for a few hours.

However, if you look for something more from your entertainment like memorable characters, a captivating story, effective pacing, or you simply hate Michael Bay style action, then steer clear.

Babette's Feast isn't an expressive or giving film; it's sleepily paced, drained of color, visually austere in the spirit of Carl Dreyer or Ingmar Bergman, and full of characters who express fury and delight alike in low, polite voices.

Pick your street basketball player from a pool of custom - designed, one - of - a-kind characters based on real - life street basketball players, team up with your friends online or in - person, and hit the court to play authentic, fast - paced gameplay.

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.

Clearly, no actor would say no to a phone call from Steven Spielberg asking if they'd like to participate in an Abraham Lincoln movie, so even the smallest part is filled by either a big name movie star or a noticeable character actor, among them Lukas Haas, Hal Holbrook, Joseph Gordon - Levitt, Tommy Lee Jones (serving as the de facto emotional center for the movie), David Strathairn, Lee Pace, Jackie Earle Haley, Bruce McGill, Gregory Itzin, Jared Harris, Michael Stuhlbarg and Walton Goggins.

Amour suffers from some pacing issues, although these are largely the result of Haneke using «dead space» (such as a sequence in which his camera spends an inordinate amount of time focused on paintings or an interminable scene in which Georges attempts to capture a pigeon that has entered his home) to establish a tone or develop a character.

There's little doubt that Stone does an impressive job of authentically establishing the movie's cut - throat world of high finance right from the outset, as the filmmaker, along with coscreenwriter Stanley Weiser, offers up a blisteringly - paced narrative that rarely pauses to explain exactly what the central character does or how all of this works.

Critics Consensus: The Legend of Tarzan has more on its mind than many movies starring the classic character, but that isn't enough to make up for its generic plot or sluggish pace.

Writer Laurence Coriat fails to come up with any fresh ideas for developing characters or storylines, and the film never has enough sense of pace or direction.

Critic Consensus: The Legend of Tarzan has more on its mind than many movies starring the classic character, but that isn't enough to make up for its generic plot or sluggish pace.

This is especially the case when Infinity War has to move on to another story or character beat in order to keep up the film's brisk pace and wrap up in a reasonable amount of time.

Coins are earned at a steady pace, allowing you to purchase upgrades or new characters.

Paterson is a typical Jim Jarmusch film: slow paced, quirky, filled with a diverse cast of interesting characters (with place serving as a character in and of itself), capturing the beauty and mystery of day to day living while telling a story that doesn't really have a beginning or an ending.

But writer Laurence Coriat fails to come up with any fresh ideas for developing characters or storylines, and the film never has enough sense of pace or direction.

Employing a small change of pace from previous titles, DW 7 no longer allows you to select the officer or general you'd like to play as but instead tailors each mission to a specific character.

If you liked the pacing and mechanics of Gauntlet or the old Final Fight style of side - scrolling beat -»em - ups, then Mystic Heroes is a great expansion of and improvement on that sort of gameplay, with lots of well - rendered characters onscreen.

McCarthy's methodically - paced and consistently compelling approach brilliantly and subtly pays homage to the work of Walter «Robby» Robinson (Michael Keaton), Michael Rezendes (Mark Ruffalo), Sacha Pfeiffer (Rachel McAdams), and Matt Carroll (Brian d'Arcy James) while exposing the underbelly of an institution that traditionally (or ideally) exercises superlative judgment of character and protection of cultural, spiritual and societal values.

The directing duo of the Russo brothers have shown themselves so adept at crafting an amazing film before this with Winter Soldier, and they've even bested our Lord and Savior Joss Whedon, in terms of pulling together so many characters on screen at the same time, without sacrificing pacing or story to do so.

Welcome to the Punch sets itself up as a rather conventional genre film, but where the writing may lack a depth of character or thematic weight it's more than made up for in terms of sensory - appealing thrills and a hyped up rhythm that keeps things moving along at an appropriately rapid pace.

Yet in order to contain itself to a well - paced running time (and the movie does run itself quite well in terms of never losing focus or attention), things remain primarily centered on Saginowski and for all its faults it is in this character where the true value of The Drop lies.

As with any Apatow - produced flick, the runtime is overlong and the amount of improv often derails any momentum, but for the first time in the run of films produced by the man, that momentum is incredibly important: in action cinema, tension and pace is required to make things exciting, but Pineapple Express forgets about that so its characters can sit around smoking weed and saying silly things another four or five times.

But even when the voice isn't checking in with James and his wild thoughts to see how the fragile character is doing, the film creaks along at an unbearable pace that fails to reveal two important things: what it's about or where it's heading.

The production was also never afraid to change pace or throw in a single - character episode here and there, and at the end of the season, there was a definite realization that very little happened in terms of plot.

One thing that becomes clear within the first half hour or so is that the pacing and character interactions within the story are very well done.

Writer / director Farhadi has infused The Salesman with an expectedly deliberate pace that prevents one from connecting with the material or the characters, with the far - than - engrossing atmosphere compounded by a repetitive midsection detailing Emad and Rana's attempts at overcoming a personal tragedy.

becomes the fun, briskly - paced comedy that one might have anticipated, as filmmaker Farah has infused the proceedings with an oddly (and incongruously) deliberate pace that prevents the viewer from wholeheartedly embracing either the narrative or the characters - with this feeling exacerbated by the consistent inclusion of overlong and downright needless sequences and interludes.

The film really doesn't pick up pace or find its stride until all the characters road trip in the soccer mom mini-van on a journey to find the missing Margo.

Coming into any sequel blindly can make that experience tough to sit through without getting too confused or losing interest; fortunately because this is a feel - good movie and the ensemble cast has strong chemistry — it wouldn't surprise me one bit if half the time Terrence Howard isn't even in character while cameras are rolling — the story actually moves along at a comfortable pace, enough to make certain loose ends easy to ignore (again, if you're coming in without seeing the original).

«Logan Lucky» moves fast, but never at the expense of character or story, which is sometimes the case with fast - paced joyrides during the summer.

Bronson was an unbridled beast, as evident from director Nicolas Winding Refn's blistering opening salvo, a character - defining blood - red depiction of Peterson pacing side to side, naked and covered in filth, inside a cage, his fury rising as he psyches himself up for forthcoming fisticuffs, which in Bronson typically arrive in slow - motion and staged to crashing classical music and opera or»80s synth - pop like the Pet Shop Boys» devilishly appropriate «It's a Sin.»

Not a Good Match For: Those who want - paced action, uncomplicated rules, unchallenging games, or main characters who have feet.

The difference between a piece of shit like this and a genuine classic like Shaun of the Dead is that Edgar Wright's movie is made with love and intelligence, timing and a surplus of wit, while Zombieland is tin - eared, poorly - paced, and betrays not one single insight into its characters or its story arc — there's no love here.

W. 5.3 Use narrative techniques, such as dialogue, description, and pacing, to develop experiences and events or show the responses of characters to situations.

When it's running, the petrol motor lends the car aural character as well as pace, with the electric motor tangibly filling in the low - end torque gaps and letting it punch out of corners with more or less instant throttle response.

She is especially drawn to a strong voice and dynamic characters, a well - paced plot, witty or quirky humor, and am always susceptible to a good solid tug on the heart strings.

In contrast to the first book, this one was slower paced, most likely because the focus of the book shifted from the main characters of the first book to introduce new ones, or expand some that were already introduced in the first book.

In short, The Informationist has everything it takes to be a top - notch thriller: great characters, good pacing, exotic locales, and an intricate plot that more or less makes sense.

Story structure is what makes our story feel like a story (with a beginning, middle, end, and twists along the way), story beats are the plot events or character turning points that keep our story interesting, and beat sheets are tools to check our story's structure and pacing.

The aim is to ensure the pacing of the story works, your characters are solid and believable, and that your story is logical with no obvious problems or holes.

She'll show you how to develop a foolproof character arc and plot, how to pace any book for a can't - put - down reading experience, and how to ensure that your stories are complete and satisfying without wasting time or words.

This is not the time to change narrator pacing, intonation, character voices, or other nuances.

I'm looking for original writing - related posts — these could be on anything from specific elements of the writing craft (character development, POV tips, plot pacing, writing a terrific antagonist) to a post covering your personal writing process, how you organize a manuscript, how you fit writing into your day, or tips for promoting a book.

b. Use narrative techniques, such as dialogue, pacing, description, and reflection, to develop experiences, events, and / or characters.

I am trying to think about structure and pacing, characters and plot, how well the world is seamlessly integrated, if the dialogue is sharp enough and of course whether or not the last few pages of editing somehow ate all the tension out of the story.

-- but in terms of the plot, I think it still takes a very good second pair of eyes to see whether the pace of the plot is working, whether it's confusing to the reader, or whether the characters are likeable.

But a reader must discover the complexity of our characters all on their own time and pace in order to fully appreciate and enjoy the narrative, to feel uplifted or hurt along with our hero or heroine, to cry and rejoice with them at every turn of the story.

But the smaller, focused edits don't matter if the story itself is weak or nonsensical, if the characters aren't well - developed or consistent, or if the pacing is slow and riddled with tangents.

Some authors send out several sampler funnel books, all drawn from the same prospective series but varying in key respects: Pacing, the number of characters, locations and atmosphere, or other variables.

The breakneck pace that the series likes to keep means that there's still never a few quieter, slower moments in which to truly expand the plot or flesh out the characters you're fighting with.