Sentences with phrase «much plotting went»

How much plotting went into GLOW?

Perhaps it was in order to squeeze one more screening into the day (this is not unheard of — it was widely known when Sylvester Stallone's Cobra was released in 1986, he kept cutting its running time down until he could add another performance) or maybe it was just their concern that there was too much plot going on in an action film.

Not exact matches

Outside of some blood splatters going across the screen there really isn't much to it, other than the basic plot, which is that the story is set in post-Civil War Wyoming during a blizzard.

If we do not win the title (and that is looking very much the case) the first major change has to be management Wenger can no longer lead us he has lost the plot he can not motivate the team and does not have back up plans encase this go wrong on the pitch (both tactics and players)...

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

Their much trumpeted monster stand is going to be packed full of their corporate friends, sorry «partners» whilst they trade on the Anfield Experience (sic) to attract tourists while all the time plotting to fleece the supporters until called out by SOS & SPION KOP 1906.

The plot of the film is not very different from the Universal classics: mad scientist, longed to resurrect the dead, comic character much alike Abbott and Costello, beauty who of course is taken by the «monster» (which is the Wolf Man), the climax with a burning building, while the battle of protagonists with a monster is going on and, of course, a happy ending.

Trying to underplay conventional plotting as much as it can, this film is seriously meditative upon the life of a man who we barely known anything about, and makes matters worse by portraying gradual exposition in too abstract of a fashion for you to receive the impact of the would - be remedies for characterization shortcomings that do indeed go a very long way in distancing you from a conceptually sympathetic and worthy lead.

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.

I read some of the first book, and a little bit of «The Perilous Plot of Professor Poopypants,» but otherwise, I went into this film not knowing much.

It's hard to go wrong with Oscar Wilde's writing, as there is just as much joy, if not more, in hearing the many witticisms, spoken mostly in asides, than in following the plot at large.

So much going on and intersecting / overlapping plots.

There's a pleasantly dreamy quality to much of Eye of the Dolphin, and that goes a long way toward enabling audiences to ignore the formulaic plot and enjoy the laid - back charms of this innocuous indie.

The fact that he is from outer space is pretty much ignored and virtually irrelevant to the cliche riddled plot and the feeble attempt at providing depth and moralisation goes nowhere.

As far as the plot goes, I've said as much as I can lest there be spoilers.

He's not helped by the fact that his plot goes absolutely, completely nowhere; by the end of the series it was clear that if you cut most of the Foggy And Karen Investigate scenes from the series it would be much tighter and better.

This low - budget horror film produced by Roger Corman and directed by Coppola before he went on the become a famous filmmaker has evident shades of Psycho but is not even frightening, with a lame, uneven plot in which nothing much really happens.

Since much of Elizabeth's perceived power lies in her designation as the «Virgin Queen,» there is no place for the plot go.

Still, fans of the first one will probably like this too, and at least the oodles of exposition that plagued the first film are replaced by a slightly more action - centric plot, even though the film frequently lapses into long stretches without much going on.

He's always had an incredible visual flair, no doubt, and while there is some really cool shit going on here, it's nearly impossible to follow, much less become emotionally involved in anything going on because of the way the plot unfolds.

Reblogged this on HORROR BOOM and commented: I'm going to agree with Ryan on this one; not as much plot as I would like for the build - up, but Antibirth does deliver in the final act.

As far as a plot goes, To the Wonder does not tell a story as much as present a cast, place them in a situation with minimal dialogue, and allow the audience to fill in the vast spaces that stretch out beyond.

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

Another thing that I am happy of was that I didn't had to use much speech bubbles to convey the plot and story for this episode, which I hope to go towards more in future episodes to come.

In the 70s, the «day in the life of...» occupation movies were more the norm as far as comedies went, with an ensemble cast of colorful characters, and not much plot other than to watch them all interact and laugh at the results.

goes through the standard motions of regurgitating the plot and then having the cast and crew foam on about how much they loved the process and the mythology and on and on.

Although unravelling these intricate plots can be entertaining, if you find yourself constantly going to the glossary to research why a Fal «Cie's depleting Eleth means they may find it tough to face the Gnosis, you're spending too much time trying to understand the world you're playing in instead of actually playing in it.

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.

That connection between Isaac and Portman's characters is a crucial plot point in the film, but in practice, it's half - compelling and half - restraining, simply because marital problems are so much more familiar and banal than everything else going on.

There was a lot going on during Thor: Ragnarok, so although Hela was the driving force behind the plot, she wasn't in it as much as we expected since the villain was played by Cate Blanchett.

One would think that the addition of Brigitte Lin (Swordman II, Dream Lovers) would make the film that much better, but the plot is so convoluted and the execution so ham - handed that her performance goes to waste.

Tony is pretty much an everyman character going about his daily business when he happens to see what he sees, which leads to one of Argento's more memorable set pieces as Tony is trapped between the two glass doors of the art gallery, unable to help the victim inside who is bleeding on the floor and unable to escape outside to fetch help, and his and Julia's situation and relationship is played out in a very natural way, the scenes in their apartment with just the two of them interacting being as integral to the plot as the more violent scenes.

It doesn't really give us much to go on in terms of plot or characterization, but you can find all of that pretty easily by doing a little web work.

Of course, there's not much plot, but it does seem that Bale is living up to the role of a man surrounded by «temptations, celebrity, and excess» (so goes the logline) with Cate Blanchett (who looks like she's giving a helluva turn), Natalie Portman, and Imogen Poots among the women in his life.

Consenting Adults is a tawdry and not - too - clever thriller that has one critical problem with the plot that unfortunately I can't reveal much of without going into major spoilers (can a film this rotten actually be spoiled?).

The guys go over some of the more notable examples of these locations in films past and how they are often very much characters in the plot themselves!

Without going into too much detail, a distress signal from Vulcan sparks the meat of the plot.

It doesn't sound like much of a plot but the crowd funding video for Dane Clark and Linsey Stewart's I Put a Hit on You went viral, proof that perhaps this concept of doing stuff you regret while drunk is something a lot of people have experienced though I expect the Craigslist market for hitmen is rather limited.

Of the supporting cast, Cole and Headley are terrific in strongly cautionary roles, but their plot goes from silly to sad without much nuance.

I could tell you a bunch of boring plot stuff, about how Shia LaBeouf is gone, making way for Mark Wahlberg's widower with a teenage daughter (Nicola Peltz, much ogled by the camera).

Suffice to say, the plot doesn't really matter that much (Shepard is Jon Baker, a former motorcycle racing star turned rookie CHiPs officer, and Michael Pena is Frank «Ponch» Poncherello, an FBI agent going undercover to ferret out crooked California Highway Patrol officers).

So much needs to be explained about the plot, both Gone Girl and Dark Places are murder mysteries at their core, that it all but necessitates a narrator who can fill us in on the bits that would be difficult to include in the constrained space of 90 to 120 minutes.

Finalists: «Oliver Lawless» (James Marsden) his desirability makes the world plot go round; «Carol Aird» - Cate Blanchett has never been sexier than in Carol; «Margot Robbie» - Margot Robbie sending up herself as sexpot in The Big Short; «Magic Mike» (Channing Tatum) is shyer this time, handing much of the spotlight this time to his castmates and letting them handle the XXL;

I am sure that plot description does not sound like much but there is in fact a lot going on with this film.

As mentioned, there are some self - indulgent moments and the progression is probably going to be pretty predictable for anyone who has ever seen an estranged father / son relationship in a film before, but Real Steel deserves a lot of credit for not gumming up the plot with too much melodrama.

Although it takes time for the story to eventually become interesting, Hero is still visually engaging even when there isn't much going on in the plot.

I won't go into too much detail about the plot for X-Men: Days of Future Past as most of you will already have seen it.

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.

With forced jokes and performances that go for increased zaniness without adequate material to take things to the next level first, Funny Money sinks into the comedy abyss due to spending too much time spinning its wheels in plot mechanics and desperate injections of trite shenanigans for easy laughs.