Sentences with phrase «much plot getting»

But don't expect too much plot getting in the way, as the game takes a retro style approach to storytelling by letting your combos take the place of exposition.

But even though I found the last half of the film a bit draggy - too much plot getting in the way of the fun - there were enough funny bits of dialog coming out of Brand's mouth and enough of Helen Mirren being... Helen Mirren, to give this a marginal passing grade - you could do far worse if you're looking for a bit of light humor.

Not exact matches

The plot is loosely held together by quite a bit of setting up and falling down, devoting much of its runtime to making you want to care about what the Pentagon Papers are, how the newspaper operates, and what's clearly at stake, before finally getting to the point where everything finally comes together, which is when the film is at its sharpest.

I can only hope that this attempt is taken more seriously than the largely muted and clearly unsuccessful protests of late last season... although the plane writing escapade brought some much - needed attention to the matter, it failed to resonate with fence - sitters and those who had just recently fell off the Wenger truck... without a big enough showing of support the whole endeavor appeared relatively weak and poorly organized, especially to the major media outlets, whose involvement could have significantly changed what was to follow... but I get it, few wanted to turn on their club, let alone make a public display of their discord... problem is, they are preying on that vulnerability, in fact, their counting on you to keep your thoughts to yourself... who are you to tell these fat cats how to steal your money... they have worked long and hard to pull the wool over your eyes... they even went so far as to pay enormous sums of cash to your once beloved professor to be their corporate spokesmodel so that the whole thing would be more palatable... eventually the club made it appear as if this was simply a relatively small fringe group of highly radicalized supporters, which allowed the pro-Wenger element inside the club hierarchy to claim victory following the FA Cup win... unfortunately what has happened to this club can't be solved by FA Cups or a few players coming in, the very culture of this club needs to be changed and that starts at the top... in order to change the unhealthy and dysfunctional narrative that has absorbed this club we need to remove everyone who presently occupies a position of power... only then can we get back to the business of playing championship caliber football, which should always be the number one priority of this organization... on an important side note, one of the most devastating mistakes made in the final days of this hectic and poorly planned transfer window didn't have to do with the big name players like Sanchez or Lemar, but the fact that they failed to secure Jadon Sancho, who might even start for Dortmund this season... I think they might seriously regret this oversight... instead of spending so much time, energy and manpower pretending that they were desperately trying to make big moves, they once again lost the plot due to their all too familiar tunnel vision

If we start this season without either extending Sanchez's contract or selling and replacing him with a SUITABLE alternative (S) it will be a clear sign from this organization that nothing has changed and that we will never get it right until both Kroenke and Wenger are gone... if nothing is resolved and we lose him for free, then try to find a replacement in the much inflated marketplace, this would be typical of the half - baked decision - making that has plagued this team for a number of years... this is what I call the «no man's land» of the soccer world, where teams that don't develop or recruit enough talented young players tend to lose the plot from an organizational standpoint

Nice article... I used to be one of those staunch Wenger fans through the years... I used to believe he is superior than Sir Alex, because with almost nothing to spend and playing with kids, he managed to keep us up there every year... I was really caught up with that half season wonder we used to show... In the summer 2013, him or the board (I don't recall) came out and said we are much stable financially and now we can fight with the biggest bullies, I got my hopes high, I thought we are definitely signing a top striker and DM, that what we need... What happened, only hours before the window closed we managed to sign a top AMF (remember we have our best player for the season 2012 - 2013 was AMF, Cazorla if you remember), I was really depressed seen Giroud leading the line every match... then comes winter window, and we were right there top of the table... My friend send me a poster of an elephant on a tree, and on the bottom of it «no one knows how it got there but everybody knows how it will get down»... I told my friend that we are only one decent striker far from the gold... and what happened, we signed an old injured DM on loan... That for me was a completely arrogance and stubbornness cost us the league title... There I completely lost the plot with Wenger... I wish yesterday I was with those who raised that banner... I would write in my banner «Enough talks and philosophy, we need results»

Pediatric well visits are about so much more than getting shots and plotting your child's climb up the growth chart.

And this one shares way too much plot in common with the recent rash of them (domestic animal gets tossed into the wild and learns important stuff) to get away with it.

I am a huge fan of the original Prince of Persia trilogy, and when I heard about this game I was a little worried that they would change to much of what made the original games great, and I was right, the gameplay has been completely destroyed, platforming is awkward do to too may actions being mapped to the same buttons, combat is tedious and unenjoyable, it's EXTREMELY repetitive, having to search around for light seeds just to advance the plot is stupid, and do to the fact that you can't really die the whole game just feels like trial and error, and the new Prince character is completely unlikeable, while they messed up most of the game it's got some good things going for it, the voice acting is solid, the graphics are beautiful, and the ending does have interested in seeing where the story goes from here, but I'm not sure if I want to pick up the next game they come out with, this was a huge disappointment and isn't worthy to bear the Prince of Persia name.

Way too much of «Game Night» is given away in the trailer, the violence is a bit much and truth be told — the folding in on itself plot gets in its own way, especially in the third act.

Director Jon Favreau shocked us all with how good the first Iron Man was, this time it feels as though he's trying too hard to top himself, but getting lost in all the various plot threads and not doing much to make this movie materially different than the first.

The set - up isn't quite as fun as it could be and I sat pretty much straight faced until we get to Vegas; but that problem is remedied once the plot line begins.

By the end, director Sidney Pollack has spent so much time with Silvia and Tobin at the expense of the tension, building plot elements a thriller needs to keep moving forward, that he has to play quite a bit of bait and switch to get things where they need to be for the climax he wants, which is moving but by that point a bit ridiculous.

Not much info in terms of plot of her feature directorial debut — maybe it'll revolve around the infamous «tupperware parties «where folks get together to buy plastic tins?

I was RALMAO at comments like the ones posted by Linkfx, I mean you want more depth, but there was too much plot & action??? Many got it right, a comic book adaptation isn't on the dramatic side no matter what serious moments are introduced.

At this point we pretty much know the basics of the film's plot — there will of course be some surprises — but let's get official before I start breaking hearts with the synopsis:

I'm sure I'll have much more intelligent things to say in later days and with more footage and a greater indication of the actual plot of the story (right now we've mostly just got lots of ass kicking and general badassery, which is just fine with me).

If you spend too much time on comedy you get a film like Old School, which I found hilarious but had a weakly confused and rambling plot.

I know he got cut from Avengers: Age of Ultron because he distracted too much from the already - stuffed plot, though.

Don't worry too much about getting lost in the mechanics of the plot, however — it's a simple series of fetch quests.

Most of the film lives up to its title, a very silly idea for a movie without much plot except to get the two idiots into comic situations.

With deliberate echoes of classic Hammer horror, this moody and inventive thriller gets under our skin with its deeply personal plot, which pays as much attention to horror as emotion.

What a tedious film.Over acting, wobbly plot, dialogue at times pure drivel and a laughable ending.It really was poor.The film goes straight into a Cul de Sac and can not get out.Way too much nudity from the metro sexual looking Tilda Swinton.Her androgynous body quite turned my stomach.A redeeming feature was the glorious sunshine and powerful light of Italy.The film meanders, wobbles and finally falls down.Older people like Swinton and Fiennes should really keep their pants on at all times.It is acutely embarrassing when the oldies need to do so much nudity (l suspect it is to appease their insecurity that they might not be physically desirable anymore) Horrible attempt at film making

But, as in The Force Awakens, the power of the characters compensates for plot weakness, and if The Last Jedi gets a little detour - y, it's okay, because we like these people so damn much.

There's gambling, guns, and plenty of gangsters, but I won't go into the plot much more than that, as one of the most enjoyable parts of «Get Shorty» is the way it effortlessly moves from one comic hitch to the next.

While delivering good performances and enough choice laughs to stay afloat much of the way, Get Smart suffers from a laborious plot, excessive length, and an unevenness of tone that favors a violence that jars with the light banter of the dialogue, compounded with an unconvincing romance that brews between 86 and 99.

The dialogue is witty and original, but the story and plotting (which don't get mentioned as much) are similarly refreshing.

Let the Team Get Away... Then Make Everyone Wonder If They Did Because so much of the heist movie's plot is about breaking into the bank / vault / casino / stronghold, we often forget the other major suspense point: Will they be able to get oGet Away... Then Make Everyone Wonder If They Did Because so much of the heist movie's plot is about breaking into the bank / vault / casino / stronghold, we often forget the other major suspense point: Will they be able to get oget out?

Much like a live stage version of this kind, the plot does get tied up in a convenient bow in the end.

There is a whole world involving the supporting players Lucy, Ida, Wally and Bert who all play significant roles in the film that we haven't gotten to and we've left out pretty much all the major plot turns and twists of the story.

What Sightseers gets right where Seven Psychopaths (out today and reviewed here) gets it wrong is that this film does not try to admonish itself for including violence, and incidentally is much less indulgent in the violence, along with having a much more coherent plot with better direction, writing, acting, and presumably better catering too.

In the case of Donnie Darko, any movie that used a plane crash as a major catalyst for its plot and which was released just a month after the 9/11 attacks had about as much of a chance of success as I would if I tried to get a gig writing a Star Wars movie.

«Much like Tony Stark, he's constantly plotting, always pushing a scene and looking for ways to poke at the other actor to get more out of them.

Everyone else exists primarily as a plot device or a comedic element for Nick to play off of rather than a fully realized person; that's all they can be, since he moves around too much for us to really get to know anyone except he and Sheeni.

Like with anything that is popular, the movie's plot has led to countless fan theories; ranging from aspects like the story was all in the head of Rod the TSA agent, that Get Out is a sequel to Being John Malkovich, the important symbolism of the deer, the dramatic irony of Chris picking cotton to lead to his escape, and much more.

While the main plot dynamics are still relatively simple — John Wick gets angry and is forced to kill an awful lot of people intent on trying to do the same to him — this time director Chad Stahelski and writer Derek Kolstad showcase all of this chaos and carnage on a much grander and more complex scale.

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.

The main mission took me around 90 minutes to clear, and while the bits and pieces of story you get are stunning to behold, there's not much plot development to speak of within that brief time.

Shot in high definition and filmed at many historic locations, the film somehow still lacks the splendor of an epic, and its urgency to get on with the next plot point leaves much unexplained while context goes out the window.

Watching Homeland sometimes feels like trying to crack the Enigma code: Viewers are left very much in the dark to the overall plot, and Clare Danes's performance as Carrie Mathison remains the single unshifting cipher from which to get one's bearings.

The script by William Nicholson and Simon Beaufoy does an acceptable job balancing the plot between the climbers, the people coordinating rescue efforts back at base camp, and the families left behind, and Mick Audsley's editing hangs together well, though it gets hard to keep track of characters because there are a lot of them and their faces are covered by oxygen masks for much of the second half.

The problem with the film isn't in its placement in the realm of science fiction films as much as its placement in the real world, where the plot necessitates a triple - jump for every leap in logic to get us from point A to Z. For instance, the film pushes forward the notion that scientists don't give any thought or research whatsoever to the ramifications of their inventions before unleashing them on the world at large.

This is Kazan's first screenplay credit, but we have no reservations on the quality of her work: her Off - Broadway play «We Live Here» unfortunately drew comparisons to the often histrionic and extravagant «Rachel Getting Married» for sharing a similar plot, but the former was actually a much stronger and subtler work without all of the miserablist Oscar - beggar mayhem.

However, most of the film runs along without much catering to its main plot, concentrating more on its characters, tossing up some pretty clever gags and side stories involving such things as the making of jams, the girls» trying to help Gru to get them a new stepmom, Margo's romantic stirrings, and a good deal of Minion slapstick shenanigans, which will no doubt make this a hit for the kiddies.

How it managed to get past the office mimeograph machine, much less get read, financed, produced, acted in and even released, is a mystery maybe only that helpful stranger, with his boundless optimism for bad plots, could explain.

We don't know much about the plot, but as you can see, it involves a young boy getting lost in the world of the dead while searching for his father.

Admittedly, it all gets a bit by - the - book as the inevitable dust - up approaches, but with these kinds of standard - plot thrillers, it's not so much what you do as how you do it.

11:30 am — TCM — Gold Diggers of 1933 The story's nothing to get excited about (and in fact, the subplot that takes over the main plot wears out its welcome fairly quickly), but the strong Depression - era songs, kaleidoscopic choreography from Busby Berkeley, and spunky supporting work from Ginger Rogers pretty much make up for it.

9:45 pm — TCM — Gold Diggers of 1933 The story's nothing to get excited about (and in fact, the subplot that takes over the main plot wears out its welcome fairly quickly), but the strong Depression - era songs, kaleidoscopic choreography from Busby Berkeley, and spunky supporting work from Ginger Rogers pretty much make up for it.

Thankfully, director Ritesh Batra («The Sense of an Ending») and his cast (including Judy Greer, who gets one great scene as Louis» daughter) keep us so invested in these characters that plot contrivances don't get too much in the way.