Sentences with phrase «more narrative sense»

It would have made more narrative sense if he would have lost the fight but won his daughter.

Not exact matches

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.

«It is more like a collection of narratives poking around a theme that attempts to make sense of this world in all of its mystery and complexity».

But my sense is that the «three dimensional» narrative I propose has a lot more to offer long - term, even though it's harder for devotees of the dominant narrative to accept short - term.

Because of our contemporary awareness of the evolutionary, narrative character of the universe, and the growing sense of our species» continuity with this emergent process, we are now in a position to interpret the long search of religion as a prolongation of the cosmic struggle toward more intense beauty.

Learn more about our unique approach to engaging students through their heads (intellectual involvement in a subject), hands (experiencing a subject by doing), and hearts (living into a subject in an emotional sense to connect it to a broader narrative), fostering the desire for lifelong learning.

This polemic against the American healthcare system benefited from a far more focused approach than his previous films, which covered so much ground they sometimes lost any sense of narrative or coherence.

There are a number of cases where this narrative makes sense — for instance, Health chair Sarah Wollaston and Defence chair Rory Stewart were elected with less than one full parliamentary term under their respective belts, and are generally regarded as among the more independent and effective chairs.

Social network proximity was also associated with neural response similarity within areas involved in attentional allocation, such as the right superior parietal cortex30, 31, and regions in the inferior parietal lobe, such as the bilateral supramarginal gyri and left inferior parietal cortex (which includes the angular gyrus in the parcellation scheme used32), that have been implicated in bottom - up attentional control, discerning others» mental states, processing language and the narrative content of stories, and sense - making more generally33, 34,35.

In fact, sparing us the gratuitous party scenes is not just good sense but an intrinsic element of the narrative since, thanks to a self - administered mickey that turns out to be roofies rather than E, the central characters have no more idea of what went on the night before than we do.

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

By turns high - octane and slow - burn, it manages to hold the viewer's attention for its nearly 140 - minute running time, although there are instances when the narrative gets bogged down in subplots and there's a sense that some additional fleshing out of key relationships (something that could only have been accomplished in a mini-series format) might have resulted in a more satisfying ending.

It really reminded me of MGS5 TPP in some ways, of coarse not in the narrative sense but more from a gameplay loop sense.

That the film makes almost zero sense is besides the point; those worrying about what Frank's job is, how Mitch's nerdy co-workers find out about the fraternity, or why Mitch's standard - issue love interest Nicole (Ellen Pompeo, who looks like a more sandy - haired Renée Zellweger) has any interest in the doofus will be flummoxed by the gaping holes in logic and narrative cohesion on display.

Scenes bump into one another as the story lacks any real sense of narrative cohesion, but more a collection of scenes meant to move the characters around the landscape in an effort to make sure all their ducks are in a row for the big finale.

At times, this congeals into intoxicatingly energetic and disturbingly violent moments of survival play, but whenever the narrative returns to moments of static calm the film has a nagging sense of perfunctory ornamentation, it's more important elements given short shrift in an effort to balance a variety of odds and ends.

But there are traitors, both human and metallic, which makes things complicated in the sense that more exposition is required, and plot twists need to be handled with screaming instances of narrative torque.

Unfortunately, as strong as Morton and her castmates — including Hunt, Corey Stoll, Rashida Jones, Alice Eve and «West Wing» veterans Richard Schiff and Bradley Whitford — may be, there's a gnawing sense throughout «Decoding Annie Parker» that the deeper, more interesting narrative isn't being told.

I've been sceptical about this film - maker's pictorial sense in the past, even in the widely admired Pan's Labyrinth from 2006, which called to my mind Tarantino's shrugging response to a certain kind of film infatuated with its own visuals: «Pretty pictures...» But Crimson Peak has more narrative sinew and black comic style than this.

The film concludes in a more conventional manner, perhaps, than might be expected, in that it's a flight to freedom — or maybe a fool's errand — but remains gripping and tense, balancing suspense and narrative drive with emotional entanglement and an unerring sense of dread.

Instead of a traditional narrative - like structure, Phantasm is more surreal, sometimes jumping between scenes and characters, without a clear sense of time.

Nominated for Best U.S. Narrative Feature and Winner of Best Actor (Alessandro Nivola) in a U.S. Narrative Feature at the 2017 Tribeca Film Festival, One Percent More Humid explores such themes of heartache, love, and retribution via the bold affectations of two young women trying to make sense of themselves and their circumstances.

With more of a sense of nostalgia rather than relevance, the film lacks a compelling narrative, and thus lacks the depth of many of Linklater's recent projects.

These films are all considerably more sprawling than the taut Phantom Thread, but you can see the seeds of this latest film (which Day - Lewis claims is his last) in the others — strange and unsettling narrative turns, idiosyncratic characters, a wicked sense of humor, and an enigmatic screenplay that rewards repeated watching.

They become more so as the narrative itself becomes repetitive, but for a while, Wheatley maintains a sense of kinetic momentum that keeps the pieces together.

At its heart, the story might be called an amalgam of style more so than something one could make a compelling tale out of, but the richness of the characterizations and environs bring the narrative to life, with a good sense of wit, romance, and satire.

If, as she continues, «texts or figures that refuse to be redeemed disrupt not only the progress narrative of queer history but also our sense of queer identity in the present,» then there would seem to be nothing more of a drag to the savvy contemporary moviegoer than politically démodé gay cinema.

Sensing this, Scorsese gives Teddy a closing line that begs for a careful reassessment of all that's come before, but it's way too late by then to consider Shutter Island much more than a bad marriage between one of the best, most innovative filmmakers in the history of the medium and a narrative that's the very definition of mundane.

The directorial pyrotechnics keep «Solace» from «dragging» in a narrative sense; the very real boredom it nonetheless elicits is more existential.

Then came The Bourne Ultimatum, which featured atrocious dialogue (a first for the series) numerous plot points that made no sense, and a narrative that was little more than an addendum to the second film.

There's a lot going on in this narrative — much of it densely complex, and the action spans more than two decades — but its verve, sense of place and a few truly excellent performances were enough to buoy me through the slower and knottier patches.

A similar sense of accomplishment is woven into the narrative of season two, which is even more meta, off - the - wall, and joyous than its predecessor.

The first season was a doozy, and a similar sense of accomplishment is woven into the narrative of season two, which is even more meta, off - the - wall, and joyous than its predecessor.

We'll neglect the more perfunctory Rocky IV and Rocky V for this argument, but it's remarkable nonetheless that such a blockbuster film series has maintained such a sense of narrative integrity for the lion's share of its run.

Write narratives in which they recount two or more appropriately sequenced events, include some details regarding what happened, use temporal words to signal event order, and provide some sense of closure.

Though The Mortal Instruments has long been scrubbed of any direct references to the Harry Potter franchise, its suspiciously derivative narrative makes a lot more sense in its original context.

Probably to get it really good I would have had to have spent a lot of time testing and replaying those puzzles, and doing that kind of iterative process you do for good games design, whereas I'm much more interested in the world explorational aspects, and the more narrative aspects of gaming, which makes sense because that's what I do.

For a role - playing game, the story in Etrian Odyssey IV is decidedly light, but the appeal of the series has always come more from the sense of adventure it instills through its gameplay than the narrative it weaves.

Like the original game, the basic narrative is very much your typical «up - and - coming heroes stop evil and save the world in the process» framework in a simplistic sense, but how the story introduces factors such as war, religion, or child assassins into the mix elevates the narrative to a more mature level.

The Witcher 3 is certainly not without its own narrative flaws — it's more Game of Thrones than Gormenghast — but it achieves a sense of openness that's absent in so many other self - proclaimed open worlds.

This does give more of a complete sense of narrative to the Ninja World Tournament, as the events that take place play out very similar to the Ninja World Tournament from before.

American games have become much more competitive with Japanese games than they've been historically, but one thing I feel they've lacked is a sense of a director, of cohesive vision — and the result is good experiences that sometimes lack a full, emotional narrative.

It's a genuinely good experience, with a plot that makes sense, characters who have actual personalities, and a narrative delivered through more than just text inserts and mission descriptions.

Translated from the French as «out of field,» or more colloquially «off - camera,» the term «hors - champs» refers to the capacity of certain images to create a sense of narrative space beyond what is immediately shown by the camera.

Evocation is more important than narrative development, with close - ups of pen against paper, fingers in hair and water on faces bracing the viewer's senses.

While the outer books cast in resin represent a particular narrative or set of values, such as the commercial world or the public side of the self, the books captured inside offer a more personal and at times idiosyncratic collection of knowledge and our sense of the world.

For Schnabel, the images — enlarged snapshots of what look like history paintings, portraits, Indian deities, and more — bring a sense of time, place and narrative to his meandering, abstract materiality.

Much of Dinh Q. Lê's art is driven by this sense of the unresolvable, of competing narratives — personal experience, collective memory, historical record, fictional accounts, propaganda and more.

His work uses a strong narrative component to make sense of our ever more responsive and networked surroundings.

He is a totally secular, un-fundamentalist good ol' boy from an oil port in Texas - Port Arthur, also the home of the late Janis Joplin, with whose randy generosity, narrative howl and sense of pathos Rauschenberg has more than a little in common.