Sentences with phrase «much character driven»

Our games are very much character driven, I think, and the personalities of those characters and how they interact with each other.

Our story is rooted in that high - speed danger, but also very much character driven, and this is where having someone of John's caliber and gravitas pays great dividends.

A sombre, lowbrow mood piece that's very much character driven and has an authentic feel for it's titular working class, Philadelphia neighbourhood, God's Pocket.

Not exact matches

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It looks like they had so much fun retelling the story with the characters from Don't Let the Pigeon Drive the Bus!

«I'm fascinated by the national psyche, by what drives people, it's much more interesting to write a script that has something to say, not just character stories.

«That is a much better character of convention to have than a trade show where people drive in from Connecticut, go to the show and go home.

The collection itself continued the kind of character - driven narrative that Westwood is built on, but front row whispers suggested unsolicited borrowings from much younger London designers too.

Those matchmaking «auntie» type characters who thought that height, age and job title were all the information one needed when putting two people together, have taken a backseat along with their «biodata» forms and instead online services are now very much the driving force in searching for a compatible partner.

Her character drives the narrative and provides much of the humor.

Spielberg leaves too much on the table between the two characters, especially in a film that earns the right to breathe for a few seconds, but Streep shines in these scenes all the same — this is Spielberg's first female - driven film since «The Color Purple» in 1985, and the actress is eager to make up for lost time.

I can see some people complaining about one particular character that is given the shortest end of the stick when compared to pretty much everyone else, but this character's whole purpose ends up being the final driving factor of the film and the most emotionally resonating moment when stripped down to its raw core.

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

This entry is far more character driven, avoiding much of the intricate plotting and hardboiled action that were the main pleasures of its predecessor.

The period of the creation of the atomic bomb seems like one ripe for dramatic storytelling, but a bit too much of this show comes off as overly scripted, more manipulative than character - driven.

The main plot drive the story so much, there aren't many scenes to provide for character development or to make the overall film interesting.

Fonda can't do much with the character, an aggregation of cliches: Grace wears baggy print dresses, grows pot in her basement, drives a Volkswagen Beetle, presides over monthly bacchanals where women worship the full moon, and says things like, «Then Hendrix comes onstage to play, and my water breaks!»

Each character, while unique in personality, drives exactly the same, so there isn't much variation.

The funny thing, too, is that, if you ask me who I identify with more in terms of their ambition and their drive, I'm more like Adam Driver's character in that I'm much more ambitious, or at least more comfortable with my own ambition than Ben's character, who's been stuck on the same movie for ten years.

This is very much a character - driven piece, rather than plot - driven (though there are some dramatic plot twists) and the problem with this film is that the characters are simply unlikeable.

While the malleable allegory of the film's events — a woman and her writer husband live in an Edenic country house that spirals into infernal chaos — has fueled both love - or - hate reactions and directorial marketing, I was riveted by the heedless spectacle and totally enveloping film technique, all anchored in Jennifer Lawrence's sometimes baffling commitment to a character driven to distraction by her husband (Javier Bardem), his mystery guests (deliciously entitled Michelle Pfeiffer, Ed Harris), and much, much more.

Meanwhile Play Sets offer a much sweeter deal, not only unlocking new characters but an entire standalone world populated with story - driven missions and challenges that usually clock in at around 6 - 8 hours.

Gosling's character pretty much picks up where he left off in Drive, playing an emotionless badass with few words, trading hobbies of driving for boxing.

The main character of the film is Dave Stoller, a kooky up - and - coming cyclist who has been driving his livid father absolutely bonkers with his crazy antics, which includes his need to speak and listen to anything Italian, since he admires the Italian cyclists so much.

Among the other fiction films to look for in theaters or on VOD: John Michael McDonagh's Calvary, in which Brendan Gleeson gives a beautifully modulated performance as a dedicated priest who is no match for the disillusionment of his parishioners and the rage of another inhabitant of his Irish seaside village, determined to take revenge against the priesthood for the sexual abuse he suffered as a child; the desultory God Help the Girl, the debut feature by Stuart Murdoch (of Belle and Sebastian), all the more charming for its refusal to sell its musical numbers; Tim Sutton's delicate, impressionistic Memphis, a blues tone poem that trails contemporary recording artist Willis Earl Beal, playing a character close to himself who's looking for inspiration in a legendary city that's as much mirage as actuality; and two horror films, Jennifer Kent's uncanny, driving psychodrama The Babadook, with a remarkable performance by child actor Noah Wiseman, and Ana Lily Amirpour's less sustained A Girl Walks Home Alone at Night, which nonetheless generates some powerful political metaphors.

Based on the James Sallis best - seller of the same name, Drive is an alternately atmospheric and grisly crime saga which devotes as much attention to character development as to gruesome action sequences.

jOBS plunges into the depths of his character, creating an intense dialogue - driven story that is as much a sweeping epic as it is an immensely personal portrait of Steve Jobs» life.

Add a lot of humor, just as much heart and plenty of fun music cues (The Carpenters, Beastie Boys, Lionel Richie, etc.), all of which are plot and character driven, and you get that rarest of things: a fourth episode in a film series that equals, possibly even surpasses the original.

Really only Tsui Hark has managed to make a great movie out of an origin story (with A Better Tomorrow III: Love and Death in Saigon), and that was by turning the ostensible hero into a side character for much of the film, allowing it to be driven by his mentor.

Wonder Boys is about characters and interactions; it's about one of our most talented screenwriters, Steve Kloves (The Fabulous Baker Boys, Flesh and Bone), working at the absolute top of his profession; and it's about a cast so very sublime and dead solid perfect that wondering what will happen next doesn't drive the film so much as hoping that whatever it is takes its sweet time: We want these people to stay put.

Shot on the relatively new Arri Alexa, the same digital camera that was used for Melancholia and Drive, Jack and Jill looks at least as crisp as any promos the main character might have made himself, if such praise can be lavished upon such a slapdash production, much of which appears to have used the first take every time.

Until the surprising but inevitable third act, that's about as much plot as there is in «A Bigger Splash,» a film that's driven far more by atmosphere and character.

There's a nostalgia - driven full cinematic story mode that plays out like a Dragon Ball greatest hits, rammed with fanservice and of a decent length that neither feels short nor outstays its welcome too much — vital given that much of the story is spent fighting character clone drones.

Whether he can now pull off the much harder task of telling an intimate, character - driven story that touches the heart and mind honestly is another question entirely — one to which even the sweet, well - meaning and frankly insufferable Henry may not know the answer.

After Avengers: Age of Ultron, which allowed too much bloat to get in the way of some socko individual scenes, this one establishes a beautiful balance between quieter character - driven sequences and splashy action set - pieces.

Egan drives to the prefab «war zone» via the Vegas Strip; characters especially Egan's superior (Bruce Greenwood) and the program's newest member (Zoë Kravitz) don't so much converse as exchange politically charged talking points.

But you never mind too much because this is clearly one of those movies that aims to be more of a character - driven experience than simply a plot - driven story and it does a decent job of meeting its goal throughout and keeping you invested.

It's a character driven study that doesn't necessarily rely on plot as much as it does on a single character's mental anguish, as his ethical and philosophical morals are threatened by the lures of capitalism.

Separated into four stories, each set in a different region of China, and each concerning cash - strapped characters either driven to or victimized by horrific acts of violence, Jia's 2013 Cannes prize winner (for best script, though it should have been a Palme D'Or) constitutes an attempt to take on the dark side of the country's much - touted 21st - century social and economic progress.

For all its character - driven touches, the majority of the movie plays out too much like a typical biopic with episodic scenes highlighting the major events of the subject's life and occasionally touching upon glimpses into the man's psyche.

As much as it may seem the opposite, the movie is not a character - driven one.

There are much broader moments at play as well, but they work because of the strong, character - driven foundation.

Even better is the return of the guttural sound of The Blaster Beam, Craig Huxley's instrument so familiar to fans of «Star Trek: The Motion Picture» and «Dreamscape,» Given that much of the action is driven by dialogue and character, It says something about Trachtenberg's confidence in McCreary's musical storytelling ability that the whole opening plays only with score with score, setting up a highly dysfunctional nuclear family, locked in by doomsday.

Much of Affleck's character is shrouded in mystery and that's the driving force behind Lonergan's screenplay.

We'll have to see if «Need for Speed» amounts to much more than another forgettable title in the long lineage of cinematic video game adaptations, but the racing game has proved quite profitable over its 18 titles, which recently saw the release of «Need For Speed: The Run» with actors Sean Faris and «Mad Men» and «Drive» beauty Christina Hendricks providing a little character to the series.

Markedly different from a lot of their films in that it's a much more intimate, character - driven piece, «Inside Llewyn Davis» most closely resembles «A Serious Man» in both tone and execution.

The plot isn't anything too fresh, but this work is almost entirely driven by weird characters, much like the Coen brothers» other work (Raising Arizona, Fargo, Barton Fink).

According to The Hollywood Reporter, which broke the news, «Super-Normal's intent is to make a character - driven subversive take on the genre that Hollywood and the rest of the world loves too much.»

Bleak and brooding, The Levelling is a finely - crafted masterclass in low - key but extremely affecting, quality, character - driven drama, much worthy of your attention.

(Exactly how much time in each film is devoted to lengthy passages of the characters driving in cars, walking through countrysides and urban developments, and sitting in mind - numbing business conferences?