Sentences with phrase «less interesting stories»

Obviously, comic book villains are the stuff of fiction — investors make for much less interesting stories.

Albeit with a less interesting story.

Not exact matches

those bringing in less than $ 5m a year in new bookings and those bringing in more an interesting story emerged:

The story is interesting, and let me tell you, I resolved to complain a lot less after becoming re-acquainted with Ma and Pa Ingalls.

For the rest, we can only suggest that thirst must often have been a critical problem in the wilderness years; that names of people and places were subjects of acute interest because the name was deemed to be appropriate in meaning to the object named; that Israel may, therefore, on occasion have renamed a site (or, by a greater or lesser modification in sound, given the old name a new, Hebrew meaning) significant for her own experience there; and that Massah and Meribah represent the merging of two similar stories.

I suspect that people who are particularly attuned to this kind of story, or who think of women as a special interest group with their own «issues», are less likely to be open to a party that prefers to think of people as individuals rather than in categories.

Website contributors with less media exposure can also learn how to answer questions or convey scientific information in a general interest story by reading more experienced commenters» input, Guilyardi points out.

A story about «traditional» dating gone wrong is far less interesting than a story of internet dating gone wrong (even though one is no more dangerous than the other).

Store up 10 interesting stories / facts about yourself Having something interesting to say prepared — even if you don't use it — will help you worry less about drying up so you'll be able to relax into the conversation.

Directed by the great Roman Polanski (Frantic, The Ninth Gate), it's really the themes and dangerous situations in the story that keep the interest, and he applies a less - stylized approach, opting for a more realism, letting his fine actors provide the performances to keep it all moving.

But a good - not - great single - player campaign story for the trilogy conclusion with a less interesting protagonist is easily overcome with a fantastic variety of alien - eliminating weaponry, solid FPS controls that restore gameplay functionality to fan - favorite quality with the reintroduction of the weapon wheel and health bar, and good - not - great multiplayer.

Aside from this being a lot less interesting than the original stories, it also gives us a film with more characters than the story has any use for, and that in turn makes what there is of a story feel baggy and drawn out.

Beauvois is less interested in the moment - to - moment thrills of the story than in the rippling effects that the characters» actions have in the long run.

Also the game's plot does not attempt to make a bridge to new players, who won't feel a connection with the game's story and its strategic component is less interesting than expected.

Besson then throws various ticking clocks at us: Lucy has to capture the drugs from the other three mules, with the help of a French narcotics officer named, seriously, Pierre Del Rio (Amr Waked); Lucy has to hook up with legendary brain - guy scientist Professor Norman (Freeman) before her physical form shuts down entirely; and of course, Mr. Jang is in hot pursuit, although he and his thugs become less and less interesting as the story goes along.

There are slow bits, as Baumane delves into stories that are less interesting than others.

They don't even really make a big deal out of gayness in this version, which is odd, but this is a dumbed down and less interesting version of the same story, which would be fine if it took advantage of having actors who don't even have to act if they can dance in a film like this.

Bishop never seems less than dastardly, but the question of whether he's self - servingly corrupt or a sociopathic outlaw either doesn't interest the movie or was a casualty of story tweaks.

Worse, a less interesting film, Solo: A Star Wars Story.

Sometimes the «truth» behind famous stories is less interesting.

Typically, the films have favored visual flair over an intriguing story, but Self / less gives us the rare case of an outwardly interesting premise becoming underwhelming, while the anticipated avant - garde style is all but nonexistent.

The direction by Wayne Wang (Because of Winn - Dixie, Last Holiday) is less than magical, filming without much style or interest in punching up what is already a tired story.

Following a single father who works as a human billboard in Taipei, and his left - to - their - own - devices kids, with the presence of their mother represented by three different actresses, the film has the barest thread of story (Tsai has admitted that he no longer has any real interest in narrative), and seems determined to provoke less patient audience members into walking out, with a series of shots that last upwards of ten minutes without all that much movement in them.

There's nothing less sexy than Beavis and Butthead jabber, so it comes as a shock when Reynolds steps up, rather than suppressing, his puerile banter when his character meets the story's love interest, Vanessa (Morena Baccarin), a former escort with a body to die for who happens to have the same mega-geeky comic - book tastes as Wade.

Mia Wasikowska as India: Carrying the responsibility of providing this weird story its point of view, Wasikowska's India proves to be one of the film's less interesting components.

However, the original material from which it draws its story is not nearly as interesting, with less whimsy, interesting characters, or a sense of style.

But the film's compulsion to clip along at a restless pace, toward a third act that is infinitely less interesting than the rest of the story, prevents these small flourishes from being explored to their fullest.

The predictable softening of his steel exterior at the hands of Watts proves to be too soon to swallow, and the side story of a woman coming to grips between following her heart and staying on the path of righteousness gives the overall film a level of artifice and contrivance that makes for less interesting fare.

Of course this is less a biopic, more a supernatural thriller, but Winchester's story is truly interesting.

This is borne out by the film's relative lack of interest in anything that happens after Grant dies — the compelling story of the cell phone footage, the trial, the controversial verdict, and the unrest and memorialization that followed is told mostly through curt, pre-credit-roll titles.Yet the film also tries hard for a verite style, as opposed to something more allegorical, and so we have to conclude that we're supposed to accept its less believable moments at face value.

Either the Game story dries up after a 15 - hour of the campaign or the game world turn up to be less interesting to keep your attention, but there some exceptions for special games.

Riggs doesn't get anywhere the same treatment, let alone the same amount of screentime, as King, in large part because there's far less of a story to tell with Riggs without going into unnecessary repetition in the interests of «balance.»

The film has significantly less interest in providing something fresh beyond its fabulous pastiche — the actual story is rather familiar and sometimes a dull distraction, from Sofia Boutella's French spy stalker / love interest to some fairly incongruous villain side - story business.

Although it feels like a parallel story taking place at the same time as The Road, this post-apocalyptic thriller has the opposite effect, actually getting less complex and interesting as it goes along.

The story mode tries to once again put you in this ancient Japan, where the story is even less interesting than usual and does absolutely nothing to draw you into the game.

Less interesting is the more procedural detective story in which Sam gathers clues and interviews suspects (one of whom is played by Anton Yelchin in one of his last roles).

The Social Network (Sony) Directed with typical technical fastidiousness and textural richness by David Fincher from a verbally dexterous script by Aaron Sorkin, this story of the creation of Facebook is less interested in how the website was created than in how a young, arrogant genius with no people skills managed to deconstruct and reconstruct the social experience as a web - based simulacrum: a club that even Mark Zuckerberg (or, rather, «Mark Zuckerberg») could thrive in.

It's also less artistic than Woody's finest, but what it lacks in flourish it makes up for in energy, and we can appreciate the way writer - director Adam Brooks (screenwriter for Bridget Jones: the Edge of Reason and Wimbledon) takes the time to build up the story's many fine small touches to give the larger ones the depth and interest necessary to soar when it needs.

For all its flaws however; the subplots that could be removed and the occasionally jarring cuts back to less interesting strands of the story, I was entertained and fulfilled by this brave, often powerful piece of cinema.

Everything in the service of a story or much less round but more interesting thanks to some great Bardem and Barbara Lennie, among others.»

With the success of movies like The Shape Of Water, it's interesting to have a genre movie be less about the CGI, and more about the relationships that drive the story.

It's a convoluted twist on Richard Matheson's «Button, Button» short story, which was adapted into a classic Twilight Zone episode and the bonkers Richard Kelley movie The Box, but Collet - Serra is less interested in the moral dilemma.

Frankly, I expected this track to be less interesting than the one created for the prior film; first flicks always have the most background to relate, and the rough time Coppola went through making it seemed to offer more opportunities for interesting stories.

Sure, you got rocket packs and some other interesting abilities, and there was a new emphasis to online co-op play, but it was basically at its core the same game with a less appealing story mode.

In the interest of being a little less long winded, I'll mention a handful of others a little further down the line including the excellent hip - hop dramedy Patti Cake $, David Lowery's esoteric and meditative directorial masterstroke A Ghost Story, Alejandro Jodorowsky's endlessly surreal and poetically moving autobiography Endless Poetry, the quite devastating and utterly unique animated feature (easily the finest of the year) Birdboy: The Forgotten Children, Edgar Wright's explosively edited joy ride Baby Driver, Joe Swanberg's warm and personal gambler comedy Win It All, and Sean Bryne's totally metal and totally foreboding possession horror The Devil's Candy.

Exchanging the old progression system linked to Gym Leaders in favor of the far more interesting and varied Island Trials, adding Totem Pokémon, making Wild Pokémon battles less predictable, filling the world with detail and secrets to discover, and giving story and characters an expanded role are the key features that make Pokémon Sun and Pokémon Moon so refreshing that they may even be enjoyed by those who didn't like previous Pokémon games.

What's interesting as you work backwards through films we've made about traveling to Mars is: the further back in time you go (and therefore, the less scientific knowledge about the planet with which the filmmakers would have been working), the more Mars ceases to be a cold, inhospitable ball of red mud and becomes a brash, romantic fantasy world onto which stories more and more achingly mythic can be grafted.

(Side note: Ubisoft's admirable efforts to include less - tired types of characters and stories has certainly helped the series feel fresh and interesting recently.)

The story follows a high - school student (played by Saoirse Ronan) who's fed up with her Sacramento upbringing and longs to move out to the East Coast for college in order to access a less suburban, more interesting world.

This is less a failing of this particular film and more a symptom of trying to find interesting and cinematic ways to cover gaming, a massively popular and important industry but one that rarely throws out interesting characters or remarkable stories that ache to be told.