Sentences with phrase «film plot from»

You may be wondering how the writers of Need for Speed came up with a feature - length film plot from a video game franchise, but it's more simple than you'd think.

The game does follow a fast - paced structure and even makes reference to the films plot from time to time, but other than those enjoyable bits it fails in eliciting even basic levels of excitement from players, which is a shame.

Not exact matches

While he basically ripped off the «Hell's Coming With Me» speech from Tombstone... he fancies himself an economist because he found a way to make people pay him $ 18 million per film in which the central plot is about a country or world having to save him from himself...

In 2018, dozens of superheroes from various movies over the last nine years will come together for Avengers: Infinity War, and supposedly connect the plots of all these movies together, making the MCU one of the most ambitious projects in film history.

Noah seems to work as a film because of a plot that is paced to move along, convincing special effects, and quality performances from name brand actors like Russell Crowe and Anthony Hopkins.

The plot of the film is deceptively simple: Elizabeth and Tony Jordan (played by Priscilla Shirer and T.C. Stallings), appear to have it all — living in an upper class neighborhood with their daughter Danielle (Alena Pitts), money is rolling in from Tony's job as a successful pharmaceutical salesman.

Rather than hitting all the major plot points of Jobs» life, the film presents fictionalized versions of behind - the - scenes looks at three product releases from 1984 to 1998.

If you've seen any of the trailers for John Krasinski's new horror film A Quiet Place (which he stars in and directed), then you know that the plot revolves around a family that must live in silence to avoid detection from some sort of evil force.

Sometimes we hear about TV shows keeping surprise plot twists from their cast members until moments before filming.

In a Sunday Politics film, Giles Dilnot looked at rumours of Westminster plots to remove him, and hears from the MP charged with the party's general election campaign.

The film's plot will undoubtedly take many more dramatic turns from there, but its early premise is, sadly, not entirely far - fetched.

Without hashing out the original film's plot, it's safe to assume we can expect to see many of the elements from there enhanced in its sequel «Prey at Night».

The plot of the film is not very different from the Universal classics: mad scientist, longed to resurrect the dead, comic character much alike Abbott and Costello, beauty who of course is taken by the «monster» (which is the Wolf Man), the climax with a burning building, while the battle of protagonists with a monster is going on and, of course, a happy ending.

Jack hands off one of his stories early in the film for his brothers to read and while hints to its plot are dropped, only later does it manifest itself into one of the few scenes in the film that felt not merely fresh to me but touching; briefly, we glimpse an event from the day of the funeral, awkward and uncomfortable, with the kind of details that only siblings might later recall.

Trying to underplay conventional plotting as much as it can, this film is seriously meditative upon the life of a man who we barely known anything about, and makes matters worse by portraying gradual exposition in too abstract of a fashion for you to receive the impact of the would - be remedies for characterization shortcomings that do indeed go a very long way in distancing you from a conceptually sympathetic and worthy lead.

But there are problems in Wakanda, not all stemming from the film's few white characters: CIA man Everett Ross (Martin Freeman) blunders into Wakandan power politics, and white South African career criminal Ulysses Klaue (Andy Serkis) plots to steal their vibranium.

Why bother to nattily plot out the film's visual vocabulary when the story itself is treated as little more than ripped - from - the - headlines sensationalism, devoid of nuance and empathy?

The film still suffers from a muddy narrative and dour outlook, but this extended version corrects a number of problems with plotting and expands the DC Comics universe with better character development and world building.

Their fabricated stories occasionally dissolve into something much more honest; Jack, perhaps the most emotional of the brothers, is a short story writer, with suspiciously familiar plot points and characters he insists are fictitious (from the short, Hotel Chevalier, which accompanies the film at the festival, we know this is not true).

As much as I loved Inglourious Basterds, that film was a series of digressions from the main plot, but this film is actually centered on the story he lays out at the beginning.

It's not too dissimilar from last year's «A Man Called Ove» in terms of characters and plot, but the two films diverge in focus.»

Thankfully, the voice talent gives it their all with Hill and Cross being particular standouts, but they are really livening up a script that at times feel like a draft or a number of plots from different films, piecemealed together.

It's to distract you, perhaps, from the litany of howlingly funny absurdities that start piling up in the film's second half, each of which on its own should have stopped the plot in its tracks and when, taken together, constitute a Three Stooges routine of cascading damage to cinematic integrity (not that this is something that concerns Bay).

The film's tension grows not from its plot development — we know from the outset how it's going to end — but from whether or not we're going to learn all the reasons for Spacek's decision.

Although the plot was admittedly borrowed from Akira Kurosawa's Yojimbo (1961), Leone managed to create a work of his own that would serve as a model for many films to come.

The other detrimental factor is its inability to supply a decent plot that doesn't feature redone bits from the last two films.

The film's plot is similar to the story in the Biblical Book of Ruth, and the film's title was derived from Deuteronomy 11:21 («That your days may be multiplied, and the days of your children, in the land which the Lord swore unto your fathers to give them, as the days of heaven upon the earth.»)

as a kid i grew up with transformers for toys, but didn't watch the actual show (aside from beast wars) until last year, so i wouldn't consider myself a fan boy, but when a tv show based around toys from the 80's has better dialog, humor, character development, and plot than a high budget Hollywood film, you know something is wrong with the film industry.

While both installments were treated as thematically and stylistically separate entities, as opposed to a single finale story that was just split in half and to be continued, the exclusion of certain plot points from both books made both film adaptations feel as though they were lacking in emotion.

Much ballyhooed for its on - location filming in and around the United Nations building in Manhattan «The Interpreter» works better as a captivating drama than it does as an espionage thriller due to some sticking plot points that prevent the audience from

Sanctum is the perfect example of a film that's style over substance, it looks great, but the plot is paper thin, and relies on recycled ideas from previous films in order to create an engaging film.

This film suffers from a weak plot and from a missed opportunity in knowing who its villain should have been.

I'm told that Alex Garland's film, out February 23, veers considerably from the plot of Jeff VanderMeer's hit 2014 novel; those going in expecting a faithful adaptation will be disappointed, and may spend the bulk of the movie frustrated about what's not there instead of appreciating what is.

Whatever investment in the plot the film wrings from the audience comes from the fact that Dominika is stuck between two bad options: working for the monsters who turned her into their tool or defecting to America and possibly severing ties with her ailing mother (Joely Richardson).

Yes, Deadpool 2 eagerly puts many of the hoariest superhero tropes on blast — so many that this ceaseless mockery quickly supersedes the film's actual plot (which has to do with Deadpool befriending a troubled young mutant played by Hunt for the Wilderpeople's excellent Julian Dennison) to protect him from Brolin's time - traveling cyborg).

There is little time for intimacy, however, when the film takes a breath from plot, character dynamics pop, namely any banter between the Guardians, Peter Quill's quippy alpha oneupmanship with Thor, the ego clash between Tony Stark and Doctor Strange, and Wanda and Vision's warm bond.

Cruise and Abrams have managed to interject the Tom's personal life (engagement / googley eyes) into a blockbuster and it took NADA away from the characterization, plot, or tone of the film.

And for some reason half of the film is in Spanish, which is rather disjointing and makes the different character plots seem disconnected from each other.

From both a plot and dialogue perspective, the script is by far the film's worst flaw.

Writer - director Damien Power advances from his work on short films with his feature debut, a solidly visceral and harshly unforgiving pic that's lean and taut in its plotting and pacing, even as it shakes up linear chronology initially to tell its tale.

The film is fairly tolerable as these things go: Wilder takes time off from the steamrolling plot for improvised bits with some actor buddies (including Charles Grodin and Joseph Bologna), and the project as a whole is a lot less mawkish than we've come to expect from Wilder's directorial efforts.

A greatest - hits collection of plot devices and emotional cues from such films as «Gorillas in the Mist» and «One Flew Over the Cuckoo's Nest,» making it something of a trained chimp, one that apes a lot of good movies while making itself look ridiculous.

The two films have in common a structural formlessness which, in Sarah Marshall's case, felt freewheeling and fun: When the boy - gets - girl plot would suddenly pause for a music - video parody or a number from a puppet musical, it was all part of the movie's loosey - goosey charm.

This film if it would have been rewritten might have been good fun, but the end result just suffers from a poor plot that ends up falling flat.

Cruise and Abrams have managed to interject the Tom's personal life (engagement / googley eyes) into a blockbuster and it took NADA away from the characterizations, plot, or tone of the film.

I like how they have engineered the plot from part three and the franchise as a whole into a bigger picture, all these films are prequels and the finale here does tie that up nicely.

But on February 28, for one week, about 1,000 movie theaters around the country will screen a version of the movie that is both the same — same plot, same characters, derived from the same filming sessions — and completely different, featuring exactly 763 new jokes.

The digging party, with its suggestions of film - noir plot twists and resonances, fulfills its violent implications with the arrival of a rough - hewn neighbor (played by the majestically stolid character actor Tom Bower), who tries to dissuade Tim from the excavation with allusions to uneasy spirits, evil history, and «the Chicago Hall of Fame.»

William Girdler was able to make a good horror film with Day of the Animals, though the acting suffers, the plot is what keeps you involved from the first frame onwards.

Given the outline from the plot alone this isn't a film that should be taken too seriously... «A lonely teenage horror - movie fan discovers a mysterious computer game that uses hypnosis to custom - tailor the game into the most terrifying experience imaginable.