Sentences with phrase «much a character drama»

So it was a long shoot and quite a big epic movie in one way, but very much a character drama, also some kind of reverse love story between my character and Tom's character: they've been married for eight years when the movie starts and it's like a cold war between them.

71, it turns out, is as much a character drama as it is a smashingly effective action thriller.

Not exact matches

That's arguably much more powerful, yet it's so rarely seen in the diverse characters that appear in our drama and comedy shows.

• If you've ever wondered HOW MUCH CHARACTERS ON YOUR FAVORITE TV SHOW MAKE to fuel their exciting and drama filled TV lives, wonder no more.

While the «Footloose» remake doesn't differ much from the original musical - drama, in terms of the characters and plot - line, Brewer was able to successfully modernize the tale while staying true to its important message.

Owens carried much of the film's story and drama, which were told in flashback from her character's point - of - view.

In other words, he's much better at effects - laden set - pieces than character drama, and this film is crying out for more of the latter.

Too many characters and so much plot that no single scenario ever develops into an absorbing drama.

Whether viewers come for the political intrigue, the space battles, or the character drama, there's pretty much something for everyone.

The characters are cardboard and unbelievable, and the drama feels forced so much so that the actions and thought processes of the characters are simply ridiculous, unbelievable, and very difficult to watch.

Its narrow timeframe and juddering shootout finale notwithstanding, in fact, «' 71» calls no film to mind so much as Roman Polanski's Holocaust drama «The Pianist» in its dramatic defamiliarization of urban space, and its tight focus on a single character's sensory experience of his surroundings amid broader conflict.

A well - acted, if not terribly well - crafted, character - driven drama without much in the way of a purpose.

But I'm glad it did have the drama aspect because it gave the film so much more depth and character.

What we'd expect from Wright — memorable characters and high - style high drama — are here, but not emphasized as much as the story sometimes needs in order to make total sense.

Sure, it's to bridge a connection and unity between their opposing viewpoints so that Lyndon B. Johnson's staunch pushing of the Civil Rights Act feels in character for someone that previously toed the line of racism (he has a friendly association with an openly bigoted US Senator played by Richard Jenkins in a subplot without much engaging drama or consequence), but it also isn't a good enough defense for formulaic and conventional filmmaking.

So much of the actual drama that goes on between the various characters of The Knick can't help but feel clichéd.

Otto Preminger directs with a sharp clarity, remaining just slightly removed from the drama, the better to watch all sides and take stock of the characters, the conflicts and the courtroom tactics, and doesn't get much better than Stewart and Scott sparring with witnesses: the cagey country lawyer hiding his endgame behind a folksy manner versus the smart, sarcastic, thoroughly urban legal eagle who makes a show of his intelligence and showmanship.

Writer / director Anna Muyleart examines class and income difference in a much, much quieter register in «The Second Mother,» a domestic comedy - drama that starts off from a fairly pat premise but builds strength over the course of its careful, empathetic, and crafty unpeeling of its characters.

So much of the movie is spent on the set up and exposition, but the character development is thin and the dialogue lacking the snappy humor and relationship drama necessary for these ensemble superhero stories to shine.»

Not only is it packed with demonic mayhem, but the complex characters make the drama much...

That we are able to discern so much about a character from about 25 minutes of exposition, composed simply of fragments of daily life — no high drama, no overt statements of purpose or desire — has to do with the meticulous attention paid by the director and his leading actress to rhythms, textures, and small details of behavior.

The drama doesn't hold much weight, due to the thin characters.

Director David Mackenzie (a 2014 Breakout Director) crafts the film with the grittiness befitting a modern prison drama, but so much falls on 24 - year - old O'Connell's lead character: the film lives or dies on his angry - dog turn.

Obviously the series has both the scope and time to be able to explore the various dramas of Westworld to a much deeper degree, especially the existential crises of the «characters» created to service visitors.

And there's not much calculation to how «The Bronze» moves from scenes of character - defining drama to brazen comedy.

However, by the time these things occur, we have already invested so much into the story and characters, the drama of it allows us to forgive such contrived storytelling.

Getting cast in one of John Ridley's politically charged dramas comes with one caveat: Social engagement and open - mindedness are weighed as much as an authentic embodiment of his characters.

I can see by all the other reviews that I'm dramatically in the minority here but if a teen drama around terminal illness is what you're looking for on a Sunday afternoon, then 2014's «The Fault in Our Stars» is much more deserving of your time with characters you'll actually care about and a story that will leave you thinking about life and how to make the most of it long after the end credits have rolled.

Cox aside, this pedestrian drama is hobbled by too many monodimensional characters and too much overly explanatory dialogue that feels like a dry high school history lesson...

Still, it is also very much Allen's film — his first straight drama — focusing on deeply neurotic, introspective characters unable to get outside their own heads for long enough to form really true relationships.

Cox aside, this pedestrian drama is hobbled by too many monodimensional characters and too much overly explanatory dialogue that feels like a dry high school history lesson... Full Review

Much like yourself perhaps, look» notes a narrator at the beginning of the new James Franco drama Child of God regarding the title character.

The moody character drama leaves much of its mystery off the page.

A film that's not a tearjerker but may very well make you cry, it's a drama / character study that brings so much to the table that it sneaks up on you.

Though he does a better job for longer than you'd expect, director Alan Taylor (who transitioned from respected cable dramas to film on 2013's pretty good Thor: The Dark World) can not overcome the fact that there's only so much a person needs to see of one indestructible character fighting another, each bouncing back from seemingly certain death on multiple occasions.

Queen of Earth (IFC, DVD), Alex Ross Perry's follow - up to his breakout feature Listen Up Philip, is much more intimate a character drama.

It's part teenage comedy, coming of age, family drama, and character study — yet it's also so much more.

While the plot was vacuous, the characters were two - dimensional and the drama was nonexistent, I'm sure the drama behind the production was much more juicy.

Much more meaty drama than teen comedy, director James Ponsoldt («Smashed») treats the story and characters with respect and seriousness almost to a fault.

We get clever flashes of the drama to come and a bit too much narrative that these characters are headed toward some kind of a destiny.

Not only is it packed with demonic mayhem, but the complex characters make the drama much punchier, setting up the audience for several big jolts.

The movie tries earnestly to blend wry humor with a no - nonsense charm deemed appropriate for its working - class characters, but the acting and scripting are too uneven for either the drama or the comedy to gather much steam.

This prettily photographed English drama has much appealing 19th - century atmosphere, but the story is unsurprising, and we've met these characters too many times before.

Swanberg doesn't provide enough tension and drama between the characters, and so much of the dialogue, which is improvised, sounds like vamping.

By and large, the film feels on surer ground dealing with Eric outside the group — although there it comes much closer to the routine tropes of the prison movie, especially to such apprenticeship dramas as Jacques Audiard's A Prophet (its rise - to - power themes echoed in one character's observation, ««Starred up» means you're a leader.

Too many plot elements, too many characters, too many overlong action scenes, a rushed pace and too much set up for Phase 3 that all gets in the way of the drama.

Not so much a sequel as another stultifying character drama set in a world overrun by aliens, this 10 - years - later spinoff switches directors and genres, as first - timer Tom Green (building on experience from British TV's «Misfits» and «Blackout») helms a taxingly over-earnest war movie set in an unspecified Middle Eastern country, where American soldiers deal with insurgents while the menacing MTRs (as they're now called) lumber about in the background.

There's something surprising about «The Wall,» a stripped - down war drama featuring, for much of its brisk, 1 1/2 - hour running time, exactly two on - screen characters, one of whom is lying face down in the dirt, unconscious, for the bulk of the movie.

There's much to love about this adventure: it's brimming with nuanced characters, riveting drama, sharp wit, and a host of well - crafted action set - pieces.

Here amid all the galactic drama there is much of that rousing banter these characters are known for.