Sentences with phrase «characters over plot»

It's not for everyone, but if you prefer characters over plot, there's nothing wrong with taking the scenic route once in a while.

The screenplay by Steve Kloves («The Fabulous Baker Boys»), based on a novel by Michael Chabon, is European in its preference for character over plot.

This is a languidly paced biography that focuses on character over plot, allowing the viewer to absorb the story rather than having it trample past at breakneck speed.

Not exact matches

Think of your emotions as a film you're watching on Netflix: Just as you don't have control over the characters or the plot in the film, you can't control the way you feel in reaction to an event or situation.

The new movie will star a new character, named «Detective Pikachu,» and though no plot details have been announced, we're guessing it will have something to do with the heroic efforts to keep «Pokemon Go» servers from repeatedly crashing, momentarily destroying lives all over the planet.

Sure, Fury Road is somewhat light on plot, as most of the dialogue is shouted over revving engines, but it's revolutionary for an action movie in both its artistry and its strong female characters.

The essential plot elements of Inherit the Wind — the lonely stand of the brave individualist against the small - minded bigotry of the townspeople, Cates» fear and trembling as he waits in his prison cell, the threat of ruin hanging over his head («The Scopes character and his fiancee play each scene as if he were on the way to the electric chair,» wrote one film reviewer)-- are pure fabrication.

Essentially, the poor guy was denied a seriously important plot device that would have helped his character over the long term.

But all the king's men can't corral the horses running roughshod over basics like plot and character.

One of the most annoying aspects of the film is the way that the characters frequently talk over each other without adding anything constructive to the plot or a particular conversation.

Fortunately, Rampage typically avoids taking itself too seriously, and Peyton and his crew likewise favor forward momentum over in - depth plot or character development.

For over a decade, sold out audiences have enjoyed Rocky Horror - like participation consisting of hilarious traditions such as screen - shouting, football playing, throwing spoons at the screen, rooting on the shockingly long establishing pans of San Francisco, and generally laughing hysterically at the film's clunky pseudo-Tennessee Williams dialogue, confused performances, and bizarre plot twists, like the mother - in - law character whose breast cancer ought to play like it matters a great deal, but really comes off as a non-sequitur.

The plot is all over the place, the violence is too over the top and none of the characters are even remotely likeable that you just don't care whether they die or not.

Over and over in the course of the film, we can see Spacey, a good actor, reaching down into himself to find a source of verity for this plot - constructed characOver and over in the course of the film, we can see Spacey, a good actor, reaching down into himself to find a source of verity for this plot - constructed characover in the course of the film, we can see Spacey, a good actor, reaching down into himself to find a source of verity for this plot - constructed character.

So yeah, we all know that Black Panther, a.k.a. Prince T'Challa, is going to triumph over adversity in his bid to bring harmony to the kingdom of Wakanda, that there will be the obligatory action sequences where actual danger is a distant possibility for both hero and bystander, and that the plot will pivot on a mysterious object of unknown origin («Vibranium,» in this case — don't worry if it sounds unfamiliar; the film's characters will mention it at least three - dozen times over the course of the movie).

The Barry Levinson - Tom Fontana series stresses plot complexity and character development, not car chases or shoot - outs, and over its six - year run, was bolstered by numerous — and seamless — cast changes.

The acting goes from bad to worse, the side characters are ridiculous / pointless beyond compare, and if you were to write this entire plot down and read it to yourself aloud, you might actually fall over dead from sheer embarrassment.

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.

What you need to know about the movie is that it is extremely slow and relies much more on character, over plot.

Many thrillers use their characters as nothing more than cardboard cutouts to be put through the motions of the plot, so much so that by the time the plot boils over we don't care, because we don't know who the characters are or why they're doing what they're doing.

The plot is a bit more of a fantasy romance with some action in it, but Jessica Chastain and Chris Hemsworth give their characters some life so that you do want to see them succeed by the time the movie is over.

Plot mechanics and style tend to get emphasized over character detail in these films.

Looking back on the original Harry Potter and the Sorcerer's Stone (2001), a lush, lavishly produced introduction to Potter's world and the wondrous delights of the magic castle of Hogwarts, we can see that Steve Kloves» script condenses scene after scene to essentials (of character revelation as well as plot necessities) and director Chris Columbus» admirable desire to put the novel onscreen in all its detail ends up favoring events over people.

«2003 saw two films that: (1) featured female lead (s), (2) valued action, atmosphere, and attitude over plot, (3) replaced character depth with exhaustive references to pop culture and / or cult films.

But at well over two hours, inutes, the unimportance of the story, the essential emptiness of the central character and writer - director Aaron Sorkinâ $ ™ s attempt to steamroll over plot problems with dialogue make this a break - even proposition at best.

It is laugh out loud funny with memorable characters and a plot that teeters on the edge of absurdity but never drops over the cliff.

As with other Bruckheimer endeavors, a bunch of lame - ass 20 - something male actors fill up the supporting cast in an effort for the female audience members to argue over who's the cutest to keep their minds occupied from the ridiculous plot and poor character development.

The gauntlet imposes a plot structure that's like something out of a 1940s serial — such as The Adventures of Captain Marvel, which featured a different Captain Marvel from the character whose future screen debut is teased here — whereby a villain has to get hold of the components of a superweapon over many chapters.

It's clear immediately that Payne is going for a nostalgic, unabashedly old - school feel, with the movie's black - and - white cinematography merely the tip of the iceberg in terms of its far - from - modern sensibilities - as Nebraska progresses at a seriously deliberate pace and, for the most part, emphasizes small, character - based moments over plot.

A thin, barely - visible tightrope hovers over two different yet equally - treacherous perils: on one side, you risk missing the point of the original and creating a follow - up whose character, plot, and theme barely resembles its source; on the other, you simply retread the familiar beats of the previous work, applying a fresh coat of paint to the old structure.

What's remarkable about the poetry in The Seventh Victim is that it manages to coexist gracefully with a fast - moving plot, over a dozen important characters who have complex and nuanced relationships, and a running time of only 71 minutes.

Plot points are constantly contradicted, characters inexplicably change with no discernable arc, and the tone is all over the place.

Corman directs from a script by Howard Browne, who was a reporter in Chicago when the real event occurred, that takes in the big picture and charts the stories and trajectories of over a dozen characters tangled in the plot to kill Moran.

It helps too, of course, that moviegoers around the world have embraced the superheroes unequivocally they've met over the last decade (key to long - form, serial storytelling regardless of genre), reducing the need for long, drawn - out, character intros and giving plot, plot driven by action and spectacle, the predominant, primary role.

Worst Part: The fact that the film prioritizes plot details over character — especially since the existence of «Episode IV» assures that we already know how this one ends.

One goes over the plot and characters, another features a brief discussion of the costumes.

Despite its adolescent characters, total sincerity and Spielberg - style accessibility, it also lends itself to being obsessed over and intellectualised through its references, call - backs, plot - thickeners, and gamer-esque culture of easter eggs (tiny clever details that reward repeat viewings and fuel fan theories).

Civil War, like the Marvel comic book crossover series (written by Mark Millar and illustrated by Steve McNiven) that it loosely adapts, revolves around superheroes being split over a registration act, with Steven Rogers and Tony Stark leading the opposing sides - so, it's only fitting that Steve and Tony's plot threads take priority here over other characters» storylines.

The guys go over some of the more notable examples of these locations in films past and how they are often very much characters in the plot themselves!

U.K. filmmaker Vugar Efendi establishes the agenda of «Here's Looking At You,» his four - minute supercut of memorable cinematic moments, with this quote from Martin Scorsese: «Films that I constantly revisited, that I saw repeatedly, held up longer for me over the years not because of plot but because of character.

Del Toro seems to view plot and character development as simply a clothesline on which to hang a series of brain - searing images, and while that's not necessarily a bad thing (plenty of great directors have been stylists above all else), it means he keeps getting undermined by his scripts» odd tendency to never give him free rein to indulge in style over substance.

Yes, the plot is a little on the tedious side, as there are quite a few characters for a film that's just a little over ninety minutes, and as a result, not very much time is spent in fleshing out the relationships fully.

Just when think you have Karl figured out, he pops someone over the head and ships their corpse to Egypt, so, suffice it to say, the film keeps you on your toes in terms of plot and character.

Class panic may be at the root of what happens in Inventing the Abbotts, but in this case the story and characters are far from simple, and they grow in density over the course of the deceptive plot.

The style, pacing and conventions of both genres will leave Western fans annoyed by the noise, CGI and fast - paced cuts of horrific action once the alien plot begins to take over, while those sci - fi fans looking for some good fights and explosions will be bored by the more leisurely pace and character - driven storylines that are the bread and butter of any good Western tale.

Note that Jessica Jones is a Marvel spin - off with clued - up sexual politics, a female protagonist and an emphasis on character and plot over action.

The most apparent of these flaws is an emphasis of plot over character.

But feels more like season 4.5 because many of the previous season's plot ideas, characters and settings are ported over to this one.

It's an empty shell filled with unrealized potential that chooses visuals and an ungrounded plot over thoughtful storytelling, real - world implications and characters with depth.

Though there have been some additions and changes to the plot, mostly involving peripheral characters like Baby's sister, Lisa (played here by Modern Family's Sarah Hyland), and her parents (Debra Messing, taking over the role once occupied by Kelly Bishop, and Bruce Greenwood as the doctor patriarch originated by Jerry Orbach), Dirty Dancing 2017 is more or less a beat - for - beat retread of a more enjoyable movie.