Sentences with phrase «melodramatic narrative»

With only this noisy but sometimes enjoyably melodramatic narrative and a stream of samey battles to occupy players until it finally opens up after around 20 hours, Final Fantasy XIII is undeniably a nightmare for most people to get into.

Through this ironic casting, La Paura not only draws upon the personal biographies of its two lead performers, but also more importantly undercuts the melodramatic narrative by preventing the audience from completely investing in them as real characters.

Not only is it a wonder of access — the entire cast are non-actors and all dialogue is in Yiddish — but, even more impressively, it manages to be a generous - spirited examination of how practicality can rub up against tradition and culture while never reaching for low - hanging and melodramatic narrative fruit.

But digitization definitely empowers individual creators, even as the digital format pressures changes to the detailed B&W artwork and long - running melodramatic narratives that produced manga's Golden Age.

My films are melodramatic narratives that take place within loosely fabricated sculptural environments.

Not exact matches

I am a complete sucker for grand, melodramatic, generation - spanning narratives, whether we're talking Les Misérables or Star Wars.

Some of the narrative is melodramatic, of course.

The narrative becomes melodramatic and even more synthetic as Punit tries to inject emotion and a sense of nobility that hasn't been earned.

The reason many cinephiles loathe, as much as love, the fall movie season and its attendant Oscar hype is movies like Little Children, a piece of melodramatic malarkey that carries itself with an air of profundity unjustified by its contrived, pedantic, and phony narrative and aesthetic spine.

It covers the three preview performances leading to opening night in one, digitally - unbroken take, making room along the way for Method asshole Michael Shiner (Method asshole Edward Norton)-- who steals both the play Birdman is about and the play - within - a-play conceit of the movie by stealing the movie — and tons of narrative melodramatics, including a neurotic leading lady (Naomi Watts), Riggan's burnout daughter (Emma Stone), and his stressed - out lawyer / manager (Zach Galifianakis).

Mind you, it's also a film I think is great too, but it also uses violence as a dramatic crescendo whereas «Bluebird» is much more honest and less melodramatic about the organic and natural direction where the narrative needs to take these characters.

Director Jonathan Levine's 50/50 is one of those rare movies that pulls off a feat of narrative tightrope walking, in this case a comedy - drama about a young man with cancer that manages to be thought - provoking and insightful without being melodramatic, and funny and irreverent rather than woefully inappropriate or safe.

The major reveal is part of the fundamental flaw in the narrative that undermines all that has gone on before; it shifts the story from being a light - hearted and touching social commentary that sexual inhibitions are perfectly normal to a melodramatic and morose tale with daddy issues.

It's excusable at this point, part of the narrative; it isn't until later the melodramatic syrup clogs the whole film down.

On one hand, director Rob Fitz's («God of Vampires») unflinching narrative embraces the conventional elements of melodramatic mechanisms (i.e., the harried heroine, love and loss, strained marriage, the unlikely guardian angel, psychotic suitors, tortured childhood memories complimenting adulthood...

With its story of a love triangle gone sour, the unintentionally comic result was a masterpiece of inept moviemaking — inane, non-sequitur-filled dialogue, hilariously melodramatic acting, gratuitous sex, and a nonsensical narrative rife with inconsistencies, red herrings, and plot holes.

Pasulka shows her skill in these delicate sections with narrative that is touching without being melodramatic.

The films lean toward the macabre and melodramatic, with narratives rooted in local symbolic imagery and traditional storytelling.

These unfinished narratives seem momentarily stilled as the melodramatic strains of Jon and Emma, Baldock and Hart's collaborative soundtrack resonates across the gallery space.

Whether abstracting footage culled from 1980s blockbusters like Rambo into a vibrant slurry of sight and sound, or slowing down the introductory credit sequence of the 1970s sitcom Three's Company to a cryptic melancholic pace, as well as reworking the melodramatic prize package revealing moments from the game show, The Price is Right, Murata employs a variety of animation processes to highlight the decay of media narratives.