Sentences with phrase «much narrative sense»

To be honest, though, most of the time it doesn't make all that much narrative sense — exactly why was the Library being dusty classified?

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.

In the present volume there are repeated and sometimes moving narratives of a sense of «coming home» upon joining the homosexual community, much as Cardinal Newman and other converts have written about «coming home» when they joined the Roman Catholic Church.

I have studied many other theologies and the theology of the cross that Luther took directly from Paul pretty much (in my mind) makes thebest sense of the entire biblical narrative.

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.

Her glance was piercing, her voice penetrative, and the audience was enraptured reflecting on her words empowered by a strong narrative which conveyed a sense of absolute authority — so much like an ideal Public Advocate should be doing.

The final twists pack a nice jolt, but I couldn't take them seriously: They remind me of nothing so much as a silly narrative stunt from «Days of Our Lives» circa 2003 — which makes sense, considering the MCU has become Hollywood's most endlessly renewable big - screen soap opera.

The many narrative layers of this drama should fit reasonably snug in the context of the plot's progression, but if there is a sense of excess to the material, then it is stressed by a sense of episodicity, which sees the film spending too much time with each segment, yet not enough to flesh them out enough to make the eventual focal shifts smooth.

While Roskam does imbue the atmosphere with a sense of lived - in crime and the nefarious characters that map out the treacherous narrative feel genuine thanks to a convincing ensemble cast, there's too often that sense of over-familiarity that bogs down the film in a feeling like we've been here many times and seen it done much better much too often.

Although not linked to the Wii's Xenoblade Chronicles in a narrative sense, Chronicles X carries over much of the gameplay elements of its predecessor — but now couples on - foot exploration with flight via weaponized, giant robots.

They may not make much sense and they may not always be easy to track, but they flow into the narrative stream in inevitable fashion, an essential element that doesn't ever slow things down.

A sense of historical progress is present in the mechanics as much as narrative.

The whole narrative is structured for discovery, and it unfolds with a real sense of wonder we don't get to feel much at the movies anymore.

He won't get as much credit as he deserves for adapting such a complex novel, but Ford handles the interweaving narratives effortlessly; it's never jarring, and yet despite taking place in two different worlds, the way in which the film has been constructed makes complete sense and only strengthens its emotional impact.

It's a schizophrenic film without much narrative semblance or sense of purpose.

But the «Marvel Studios: The First Ten Years — Connecting the Universe» gives viewers an even clearer picture of how much work went into making sure everything in the MCU, from Iron Man to Avengers: Infinity War, connects and makes narrative sense.

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.

Despite not much press yet for the upcoming Marvel sequel - which makes sense given that Marvel Studios is still focused on next month's Black Panther, followed by May's Avengers: Infinity War - the Ant - Man sequel is expected to be very pivotal when it comes to the narrative direction of the Marvel Cinematic Universe moving forward.

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.

Editor Christopher Tellefsen (Assassin's Creed) further trims any fat in the narrative to maintain a steady sense of pacing throughout the movie's short runtime, thus ensuring that the slower moments never drag and that the movie's plot contrivances (naturally, there are some) don't stick out too much along the way.

In the absence of a narrative that makes much sense or seems to add up to much, it might be that Desplechin just wants to explore the themes above that makes it sound so glib.

But inBloom was a solution intended to enable personalized learning; if a district was not trying to implement personalized learning, there was a good chance that the narrative explaining the rationale for inBloom would not make as much sense to the community.

Much of Perry Baird's narrative while hospitalized sound like anything but a crazy person, yet the reappearing sense of grandeur and need to work around the clock, interspersed with times of crippling sadness and depression spoke volumes.

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.

This would hopefully mean that the first half of the game has some solid narrative progression for the player to get invested in, and should also hopefully create an looming sense of dread and interest because Zaroff is coming and they've heard so much about him.

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.

In this sense, the environment became an actual living, breathing place: an interactive playground that served the narrative by rewarding curiosity with a much deeper understanding of its nuance and intricacies for those who sought it.

From here, the narrative never made much sense.

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.

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.

In a sense we believe these narratives because we are these narratives (for the core beliefs at least, not so much the alliances or «convenient beliefs»), And by no means are all these narratives wrong or negative; in fact we couldn't «be» without them.

Real - world friends have turned out to be sinister characters, with the narrative intruding into regular life so consistently that it's created the unsettling sense of a fictional world that's not running alongside my own, so much as it is layered right on top of it.

These additions create a lovely sense of adventure and narrative for the project, much like the novel it was inspired from.»