Filmmaker Francis Lawrence, in attempting to expand Suzanne Collins» novel into two features, employs an aggressively lethargic pace that's compounded by a tedious, uneventful opening hour, with the movie's first half comprised almost entirely of sequences in which
characters plot their next move.
Not exact matches
The stock 1950s
characters lined up at the bar comparing campaign stories,
plotting their
next moves and generally shooting the concordant breeze.
The script is particularly weak, being more concerned with
moving from one joke to the
next via predictable
plot points than it is about developing the
characters and
moving our fantasy world on a little bit.
The third is a bit of a slip in the wrong direction, but the
characters really don't matter in this installment, which
moves from one
plot point to the
next, stopping only for exposition, a random bit of usually unsuccessful humor here and there, and revisiting old memories before the gang's climactic return to Vegas.
It isn't all that invested in its espionage
plot or action mechanics beyond motivation to bring this odd assortment of
characters together and keep them
moving from one swank - looking locale to the
next.
Less than a year ago we were manically inputting deadly combos, flipping over Ultra attacks and
plotting our
next move with the
characters in Street Fighter IV.