There's a compelling
cinematic story here, perhaps, but [Giulio] Ricciarelli's movie is too diffused and scattered and, especially in its first hour, too reliant on commonplaces.
Not exact matches
Recalled in Laura Hillenbrand's 2010 book and
here made grandly episodic in the manner of
cinematic versions of the Bible and The Hobbit, Louie's
story is ideal for such epic scale, yet it's also too complicated to be reduced to such notorious generic confines.
The
story does get bogged down in a few of its ancillary characters, namely Nick Fury (Samuel L. Jackson) and Natalie (Scarlett Johansson), both members of SHIELD, whose presence
here is solely to bring up another entry in the comic canon (along with a post-credit scene featuring the discovery of a prop from another hero in the increasingly incestuous
cinematic Marvel Universe).
Perhaps the most recurrent
cinematic influence
here is that worse - than - you - remember 1984 chestnut «The NeverEnding
Story,» whose visually haphazard fantasyland seems trippily of a piece with this one.
To get the skinny on the
story you can check out the intro
cinematic here.
Think of it as Love
Story meets Total Recall and Dark City, which doesn't quite do justice to the movie - going experience at hand, but comes close to describing the idiosyncratic, highly
cinematic world writer / director George Nolfi generates
here for his filmmaking debut.
With indigenous
stories in the midst of a
cinematic renaissance started by the international applause and box office success of Samson And Delilah and continued by Mad Bastards and
Here I Am, Ivan Sen's third feature Toomelah (after Beneath Clouds and Dreamland) traverses familiar territory.
Among those appearing are lead voice cast members Tom Hanks (goateed) and Tim Allen, acclaimed animation directors Brad Bird and Hayao Miyazaki (who delivers only a brief subtitled anecdote), helmers of
cinematic spectacle George Lucas and a surprisingly svelte Peter Jackson, Disney's go - to film historians Leonard Maltin and John Canemaker, and Roy E. Disney (who gets to sprinkle in the sage observation that the film excels because of
story, not CGI - a philosophy Pixar seems to be pushing
here).
Sure Michael Cera sticks to old hat, but
here it just works and when you couple that with Kat Dennings at her most charming and you get a
cinematic love
story for the contemporary audience.
The
story mode
here is the best in the Trilogy and features plenty of epic
cinematic moments from the anime.
The Solo: A Star Wars
Story reviews are pouring in, and
here's what critics think about the latest
cinematic tale set in a galaxy far, far away.
True to form, there's tons to see and do
here, with a
cinematic Story mode (secretly the best DC movie in years, daft though it is), constantly updating Multiverse challenges, a comprehensive online suite and something we never knew we wanted until now — AI loadouts.
Of course the big surprise
here is the new
cinematic story Bungie will be bringing to Destiny 2, with returning characters and a new threat to face.
Being deliberately vague
here, as I wish not to delve deep into the details of the games
story, much in the same way you wouldn't want a movie spoilt, its strength comes from its narrative, after all, this is a playable
cinematic experience.
The
story mode
here is the best in the Trilogy and features plenty of epic
cinematic moments from the anime.
Marvel vs. Capcom Infinite isn't too shabby when it comes to the amount of content it offers either; Arcade mode is
here, as is a new
cinematic story which is a bit of a letdown.