Sentences with phrase «character over narrative»

The film's episodic structure (split into three parts), and emphasis on character over narrative make Zero Motivation feel like an extended pilot for a TV sitcom about soldiers dealing with their humdrum day - to - day lives.

Not exact matches

To understand Noah, and to give his character a story arc, Aronofsky and his co-writer, Ari Handel, spent 10 years poring over the Book of Genesis and the midrash — stories written by rabbis to fill out the Bible's narratives.

There are plenty of new names — like Gwendoline Christie's Captain Phasma and Lupita Nyong» o's Maz Kanata — who don't get fleshed out as much, but half the fun of Star Wars has always been the deeply detailed narratives such side characters acquire over time.

But the narrative gives us a form of celebration developed over the seven or eight following centuries (12:21 - 27 appears to be derived from the older J stratum; but 12:1 - 13, 43 - 49 is of the character of the Priestly history), since this developed meaning alone can represent the episode's true significance.

As a result, there's a sense that important events are glossed over, relationships are truncated, and the central character becomes lost in the rapid progression of the narrative.

Yet an actor in a Cameron Crowe film must be prepared to do things that fly in the face of conventional narrative: his characters are forever addressing the camera and declaiming their innermost thoughts in voice - over, the cumulative effect of which is an anything - can - happen atmosphere and characters of substance etched in lightning - quick vignettes.

And though I'm often reticent to watch movies more than once or twice, Tully is the kind of cinematic treat — a cult classic well in the making — that you'll want to rewatch again the second it's over, not just to help piece together various narrative clues but to revisit the rib - tickling jokes and hang out with these characters for a little longer.

She privileges images over dialogue to advance her narrative and to convey her characters» emotions and thoughts.

The Faulkner novel it most closely resembles is The Sound and the Fury, which unfolds over four days, beginning with the viewpoint of the character who understands the least about the events taking place — an idiot named Benjy — before moving backward in time to the viewpoint of Benjy's brother Quentin, then forward to the viewpoint of a third brother the day before Benjy's narrative, and concluding with a third - person description of the day after Benjy's account.

Known for complex narratives that often concern a network of characters engaging with the mediation of identity, truth and history, Egoyan's work over the last decade plus applies these concerns to a variety of film subjects, as well as installations, plays and operas.

But now, Rian Johnson takes over the helm of The Last Jedi, and what transpires is a far more mature piece of cinema, far more concerned with the narrative and the characters that inhabit it; and the film benefits greatly as a result.

Visually beautiful yet barren, the outback becomes a character itself, looming over the narrative, digging its way into the heads» of our cast.

Hoffman, who helmed the production, doesn't do much to revolutionise the art of filmmaking, but he undoubtedly succeeds in telling the story in a seamless fashion, allowing the characters and narrative to take precedence over fancy camerawork.

With an approach that emphasises internal feelings and character journeys, over more obvious things like narrative structure and story arcs, this Brazilian - German film challenges audiences to explore a series of important issues in ways movies...

The narrative is too concerned with depth of character and asking difficult questions — does family take precedence over a life - long dedication to activism?

Over and over again, Güney's narratives collapse in on themselves, veering off in different directions as his characters lose their tenuous grip on realOver and over again, Güney's narratives collapse in on themselves, veering off in different directions as his characters lose their tenuous grip on realover again, Güney's narratives collapse in on themselves, veering off in different directions as his characters lose their tenuous grip on reality.

Mind you, when you have Matt Damon and Franka Potente providing more than enough character performances to keep the narrative glued together, you don't really need anyone else doing anything over than coasting.

Yang's direction shifts seamlessly with the narrative, from the mural - like Hard Rock Cafe sequence, which introduces most of the characters and relationships (imperiously presided over by a framed portrait of Prince), to the increasingly stark and stylized staging of the movie's second half.

The offbeat characters, loose narrative, crime elements and hushed voice - over are all trademarks of its time, which gives the film a bit of a time capsule feeling.

This is the kind of show that requires absolute patience and trust in the storytellers, opting for a slow - burning pace that allows the characters to evolve naturally over the course of its time - jumping narrative.

With this film, Akira Kurosawa forever banished any sense that what you see on film is the truth (cinematically speaking, I mean — before this, whatever was visually presented could be taken as true within the narrative over whatever any of the characters had to say).

The function of good voice - overs is to provide a contextual layer that enhances the themes of the story or magnifies a character in a way that is not seen with the visual narrative.

A large part of the problem I have with Rogue One stems from Chris Weitz and Tony Gilroy's conservative screenplay, one in which narrative coherence is favored over character development.

Over the Hedge successfully balances cute wuvvable characters with a involving narrative, decent subplot and some genuine laughs.

And then secondly, I wanted over the course of the narrative to show that Rosamund's character really represents the indomitable strength of the human spirit because she suffers such tragedy and loss, and yet she overcomes that.

Mood prevails over narrative momentum in this elliptical drama that's admirable for its vision even as it keeps its characters at a frustrating emotional distance.

However, despite controversy over accusations of misogyny and subjecting his characters on screen (not to mention the actresses who play them) to his artistic and narrative tyranny, he has helped his female leads deliver remarkable performances.

The film introduced many of the elements that would earn Malick his passionate following: the enigmatic approach to narrative and character, the unusual use of voice - over, the juxtaposition of human violence with natural beauty, the poetic investigation of American dreams and nightmares.

The plot and character development of Sabine de Barra, which may have initially appealed to Winslet, owing to a feminine victory over patriarchal social structures, is wholly abandoned and the narrative evolves into a love affair between a noble man and a subordinate woman, an affair that is implausible, farcical and simply too convenient.

To capture two continents» history over three centuries is no easy feat, and Gyasi pulls it off by assigning each generation (and therefore, each character) the responsibilities of that time's corresponding historical arc and narrative.

- Clare Morrall, author of the Booker Prize finalist Astonishing Splashes of Colour «The characters are portrayed with empathy and care, but the suspense over Jing's fate is lost in too many narrative digressions and an ending that falls flat.»

Multiple characters jump between multiple worlds, stretching over many centuries, but Mitchell connects all these disparate elements into a remarkably propulsive narrative that hums along behind its intricate, many - cylindered engine.

With world - building and character introductions happening in fits and starts, the manga tends to favor mood and style over an obvious, logical narrative, but the melancholic atmosphere that Ichikawa has created with the manga is a compelling one.

The game shines brightest when it is displaying its narrative and introducing the characters you'll be interacting with several times over in the coming month.

Narrative is largely told through narration, a small group of characters talking over gameplay with more world building and backstory filled out in text found throughout the environments.

Unlike most first - person shooters, which focused on action over story, the game featured a strong narrative and well developed characters.

They're characters who you often don't want to play as or play with and with voice acting that you need to switch over to a foreign language in order to tolerate it, it makes for narrative sequences that you just want to skip your way through.

Taking place almost a millennium before the events of Skyrim, the main narrative of ESO consists of your character setting out to end the vile machinations of the Daedric Prince Molag Bal as well as to seize control of the imperial throne, which has been vied over by three different factions since the land's former leader vacated it.

Now if you handed me Watch Dogs 2 with a true focus on manipulation and control over the city as you ran freeform around this slick environment with better narrative, a stronger focus and an enjoyable character.

Over the past decade or so we have seen a dramatic rise in angry male anti-hero narratives in which the player character is ostensibly a «bad guy».

On the negative side, however, BlazBlue's narratives make little sense, characters talk over one another before fights, others have long - winded dialogue and a steep learning curve will frustrate a lot of casual fighting fans hoping to button mash their way to victory; you just can't walk into this game expecting to unleash insane combos ala Marvel Vs. Capcom 2.

Newcomers and familiar faces round out a robust cast of characters while English and Japanese voice over options flesh out the narrative.

For instance, Fallout 4 shoves it central narrative down your throat at every opportunity and contradicts your attempt to roleplay anything over than the character portrayed by the voice actor and the main storyline.

This also extends to things like choice, whether it's over the narrative or how you build your character.

In stripping away a lot of the usual narrative tropes the series is usually known for, Nihon Falcom have put a fresh spin on the franchise that puts characters and small moments over grand adventures and vast mysteries.

Though the plot glosses over some important pieces of lore, Final Fantasy XV «s overall narrative is epic and engrossing, its gameplay is deep but accessible, and its main characters are some of the strongest in the series.

One idea might be that linear campaigns tend to remind players that they don't have control over their character or the narrative, breaking the illusion of fantasy.

With fantastical narratives, whimsical characters, and well - constructed mechanics, the Tales series of JRPGs is generally held in high regard, with adoring fans all over the globe.

On the bottom right are games (like PayDay and Destiny) that emphasize interesting characters and narratives over player competition, and on the top left are games (like Counter-Strike) that emphasize player competition over elaborate stories and characters.

-- «Competitive Rankings and Matchmaking for Our Games» by Nick Gaulin — «Bringing Day of Infamy's Characters to Life» by Gabriel Fronza — «Pushing Our Cinematic and Narrative Capabilities» by Andrew Spearin — «Day of Infamy's Level Design and Multiplayer Game Modes» by Jeroen van Werkhoven — «Day of Infamy's New AI and SP / Coop Modes» by James - Lea Baran — «Improved Menu Design Workflow with Coherent GT» by Stephen Swires — «Voice Over and Writing in Day of Infamy» by Michael Tsarouhas