Sentences with phrase «make narrative work»

Not exact matches

But the narrative already has the makings of a feel - good Hollywood movie — so it should come as no surprise that a feature film dramatizing Ma's rags - to - riches rise is already in the works.

We are working in partnership with others to start a New Narrative — a conversation with Canadians about our sector — who we are, what we do and how we are making a difference.

But the human mind is made to fall for stories and miscalculate the odds when a good narrative is in place, as has been usefully described by the work of Nassim Taleb and Daniel Kahneman, among others.

I think it is incredibly unfair for you to make out that anyone who is struggling to work out what they believe, and finding it difficult to «trust the Biblical narrative,» as you put it, is only «claim [ing] to be Christian.»

But if the narrative serves to make neither a religion of work nor a work of religion, what is its effect?

That is, the statement that Jesus made was specific to that particular group of Pharisees who were particularly stubborn to the way the Spirit was working through Jesus in that particular narrative.

Sometimes the most secular of scholars found that what Frei was doing, with his attention to narrative and his interest in the language that shapes a particular community, made more sense to them than the work of many theologians much more systematically concerned to address other academic disciplines.

This tripartite organization makes the overall narrative disjointed, with Beecher fading to the background as ever more characters crowd onstage and the work becomes a survey of 19th - century history.

Ultimately this elliptical, even eccentric involvement of biblical themes, figures, and narratives does not make for a work of superior accomplishment in either religious or literary terms, whether by comparison to masterworks of the past or the finer novels in Coetzee's own oeuvre.

You have an overall premise that you have worked hard and studied to make sense of an fit that narrative.

Destructive biblical criticism, exemplified for years in the work of the so - called Jesus Seminar, eviscerates the gospel narratives of all theological power and leaves us, at best, with a Jesus made in our own image — political agitator, cynic sage, new age guru, etc..

But by assigning the complaint to the new paradigm — by blaming the new style of play for his problem instead of making a direct appeal to get more free throws himself — he shapes the narrative in a certain way that may make it more likely for the league or individual officials to work him more fairly (in his eyes).

I know it's illogical, but when you think of the times WWE has turned real events or perceptions into a work, one thing that makes Roman different is they went against the narrative instead of with it.

I can only hope that this attempt is taken more seriously than the largely muted and clearly unsuccessful protests of late last season... although the plane writing escapade brought some much - needed attention to the matter, it failed to resonate with fence - sitters and those who had just recently fell off the Wenger truck... without a big enough showing of support the whole endeavor appeared relatively weak and poorly organized, especially to the major media outlets, whose involvement could have significantly changed what was to follow... but I get it, few wanted to turn on their club, let alone make a public display of their discord... problem is, they are preying on that vulnerability, in fact, their counting on you to keep your thoughts to yourself... who are you to tell these fat cats how to steal your money... they have worked long and hard to pull the wool over your eyes... they even went so far as to pay enormous sums of cash to your once beloved professor to be their corporate spokesmodel so that the whole thing would be more palatable... eventually the club made it appear as if this was simply a relatively small fringe group of highly radicalized supporters, which allowed the pro-Wenger element inside the club hierarchy to claim victory following the FA Cup win... unfortunately what has happened to this club can't be solved by FA Cups or a few players coming in, the very culture of this club needs to be changed and that starts at the top... in order to change the unhealthy and dysfunctional narrative that has absorbed this club we need to remove everyone who presently occupies a position of power... only then can we get back to the business of playing championship caliber football, which should always be the number one priority of this organization... on an important side note, one of the most devastating mistakes made in the final days of this hectic and poorly planned transfer window didn't have to do with the big name players like Sanchez or Lemar, but the fact that they failed to secure Jadon Sancho, who might even start for Dortmund this season... I think they might seriously regret this oversight... instead of spending so much time, energy and manpower pretending that they were desperately trying to make big moves, they once again lost the plot due to their all too familiar tunnel vision

The societal narrative is that something must be wrong with you if you can't make your marriage work — you're not committed enough, you're not willing to do the hard work, you're deeply flawed or incredibly selfish, etc. — instead of acknowledging that, hey, sometimes people make mistakes.

«There is the lopping off narrative of George Osborne and then there is the narrative of making people less reliant on the welfare state by making work pay.

His complete immersion in his subject makes for a superlative work of narrative nonfiction.

Though always intriguing and making use of stunning visuals and an evocative atmosphere, this esoteric Western of religious references is still an unripe Jodorowsky, clearly lacking in narrative structure before he started developing better his ideas in later works.

While Rockstar San Diego may find some difficulty in filling its open expanses with interesting and emergent play, it does imbue it with a stark beauty and compelling narrative that makes Redemption more than just an allusion to cinema, but a piece of work that can confidently stand next to it.

The works of Max Brooks, who wrote 2003's satirical and subversively political, «The Zombie Survival Guide», and 2006's, «World War Z: An Oral History of the Zombie War», provided the kernels of inspiration for this mega-budgeted horror - action - thriller that mostly makes up its own narrative, independent of much of the book content (jettisoning the first - person account style and most of the events), to make it fit more with the ranks of current, eye - candy loaded popcorn movies than a thoughtful adaptation of the best - seller.

While Unsolved isn't quite as slick and incisive as that FX series [American Crime Story: The People v. O.J. Simpson], it is an absorbing, provocative, and extraordinarily well - acted work of television that takes a narrative approach just novel enough to make you feel like you're seeing these long - cold cases through fresh eyes.

There's little doubt, ultimately, that the character works best in extremely small doses and yet much of the narrative is focused entirely on his somewhat obnoxious (and completely unsympathetic) exploits, which ensures that large swaths of The Disaster Artist completely fail to completely capture and sustain one's interest - although it's hard to deny the effectiveness of certain making - a-picture sequences in the film's midsection (eg the shooting of the infamous «oh, hi Mark» scene).

Whatever narrative - drawbacks that may entail as a result of this, it is what makes the movie work.

It all feels like everyone was working overtime to make up for the lacklustre narrative.

A Madea Halloween has all the earmarks of a play and it shows quite often through out its structure, which sadly goes against the three - act narrative that makes movies work when done well.

Williams, a regular Reichardt collaborator, gets the least satisfying of the three narratives, but the final 45 minutes, which also features spectacular work from Stewart, more than makes up for it.

The conflict serves as a manipulative backdrop for the couple's relationship, and though the script tries desperately to make the metaphor work, it feels shoehorned and iffy at best, resulting in a jumbled narrative.

It's those narrative conveniences that make «In Darkness» feel slick and worked over - the sense that an immensely powerful story of survival has been cut to fit the cloth of a by now well - established genre.

There are some liberties taken with the stories, partly because it's distilling four Gospels into one narrative but also partly because dramatic license needs to be taken to make a miniseries work.

While there are standout examples — like Darren Aronofsky's disorienting, eye - opening Requiem for a Dream, or the achingly beautiful narratives of animated animal - people addicts in BoJack Horseman — sagas like this one usually work better on the page than on the screen; the brief gloss of film can make drug use seem rather too appealing, while the idea of spending eight TV seasons with an addict seems rather unappealing.

The difficulty lies in balance: How do you create a sequel that honors the original work yet makes a visual and narrative case for itself?

It sets up an intriguing narrative in which Coughlin attempts to make his own rules as he works his way up, dealing with the various pressures life throws his way.

It's odd to see a minor character slowly overpower the narrative of Neruda, but Larrain and Bernal make it work.

As an astounding Shakespearean director and actor, he is also proven to make bigger budget films work for him and tell interesting narratives for characters we didn't think we'd care about i.e. Thor and his live - action remake of Cinderella for Disney.

I think it's healthy to make work that disrupts and questions that, and shows alternative narratives.

Despite being, in a sense, the most straightforward, linear narrative movie the writer and director Paul Thomas Anderson has made in quite some time (perhaps since «Punch Drunk Love» — and this is not the only respect in which the two films resemble each other), «Phantom Thread» could be the filmmaker's most fascinatingly oblique work.

But though it could be viewed as a series of short, fun, film pitches - Channing Tatum's happy sailor tap - dancing routine was a favourite - wrapped up in the larger narrative of a movie star being kidnapped, its so beautifully put together, well - performed, tightly - scripted and deliberating making fun of itself that it works.

Not all of it works: Recurring ghostly appearances by the dead Orlando are a hoary narrative device, and Aretha Franklin's «(You Make Me Feel Like) A Natural Woman» is a slightly jarring soundtrack choice.

The bleak and confusing narrative vaguely touches on issues of grief for emotional impact, but it's the silly playfulness of the film and Cusack's dedication to it that make 1408 work on its own limited terms.

Yet the turn works, largely because it has the kind of organic weirdness that's not unlike little kids playing make believe in the backyard shifting their narratives at a moment's notice.

Although its overwhelming logic is hence from video games — «I've never made it this far,» Cage tells his followers at one point, when asked what comes next — Edge of Tomorrow works best as a gleeful riff on the narrative tricks endemic to the cinema, an art defined more by editing than by images.

Given Stoltz's experience grasping the genre back in the 80s, he adapts such a beloved narrative and makes this film an all too familiar teenaged tale of love and friendship, but for this generation — so minus the tomboy drummer and working class mechanic with the foggy lens of 80s rom - coms.

There isn't much to the performance below the surface, and while that does work for the purposes of this narrative, that doesn't make it very compelling.

I plan on making narrative films and I'm working on the narrative adaptation of this film.

And although Mendoza has admittedly peppered the narrative with creepy images (eg a woman covered in boils makes a brief appearance), Sapi does, in the end, suffer from a paucity of compelling (or even competent) elements that ultimately cements its place as an aggressively worthless piece of work.

Granik, who made her debut in 2004 with the addiction saga Down to the Bone (the titles of her first two features give the amusing impression that she has taken the term «body of work» very literally), skillfully sustains the atmosphere, climaxing with a viscerally eerie light - of - the - moon boat scene that more resembles the work of the French festival - circuit lightning rod Philippe Grandrieux than a thuddingly well - intentioned American life - on - the - margins narrative like Frozen River.

The director Lee Daniels, whose film Precious I admired for its courage and grit, works well with his lead actors but makes some fatal narrative and casting choices.

But in place of actual drama, the screenplay by Janet Scott Batchler & Lee Batchler (Batman Forever) and Michael Robert Johnson (Sherlock Holmes) actively works to make you remember other dramas you've seen, in the hope that narrative shorthand will be enough.

Not content with reaching a dazzling apotheosis in the on - screen presentation of song and dance, Fosse wove singing and dancing into a semi-autobiographical narrative chronicling the final days in the life of Joe Gideon, a genius director - choreographer whose non-stop work regimen is making him physically ill.

British film director Steve McQueen's 2008 debut film, Hunger, is notable for many reasons: It is a great film, a great debut film, uses an innovative narrative structure, uses interesting cinematography in concert with its soundtrack, makes the best use of ambient sound to have the best non-musical soundtrack I've heard in a long time (if not ever), is the work of a black artist that is not obsessed with black only topics, and shows a maturity and grace that goes beyond even the first films of directors like David Gordon Green, in George Washington, and Terrence Malick, in Badlands.