Sentences with phrase «mystery plot in»

We hoped that a murder mystery plot in which a group of high school students pursued the culprit would connect with the players.

4:15 am (20th)-- TCM — Mr. and Mrs. Smith (1941) No relation to the 2005 Pitt - Jolie vehicle, this Mr. and Mrs. Smith is one of Hitchcock's only straight comedies, no suspense or mystery plot in sight.

A solid concept and the promising comedic pairing of Steve Carell and Tina Fey fall victim to sloppy filmmaking and a needlessly convoluted mystery plot in Date Night, a disappointing comedy that fails to fully deliver the indelible stamp of personality that makes either of its lead performers special.

Not exact matches

The Arsenal Stadium Mystery was filmed in 1939 and its plot centred on the poisoning of a player called Jack Dyce.

And while her humble two - story home in Queens is no mystery mansion, the set - up sounds strikingly similar to the plot of the 1985 film «Clue,» which was based on the board game.

Memory loss has been a stock movie plot device since the release of 1940s melodramas like Random Harvest, but lately it seems to be everywhere: in mysteries (Memento), in thrillers (Paycheck), and even in comedies (50 First Dates).

But now, in a new plot twist in the unfolding mystery of how Neandertals were related to modern humans, it seems that members of our own lineage were among the ancestors of Neandertals.

There's a new plot twist in the unfolding mystery of how Neandertals were related to modern humans.

The premise of a murder mystery with an unreliable narrator is well - trodden territory at this point (The Girl on the Train, In a Dark, Dark Wood, The Woman in Cabin 10, and Sharp Objects all come to mind) but there were at least two moments where I let out an audible gasp over an unforeseen plot twist... so I guess I'm saying if it ain't broke, don't fix iIn a Dark, Dark Wood, The Woman in Cabin 10, and Sharp Objects all come to mind) but there were at least two moments where I let out an audible gasp over an unforeseen plot twist... so I guess I'm saying if it ain't broke, don't fix iin Cabin 10, and Sharp Objects all come to mind) but there were at least two moments where I let out an audible gasp over an unforeseen plot twist... so I guess I'm saying if it ain't broke, don't fix it.

Rather than collecting a bunch of funny people together on a set and just letting them riff, the film establishes coherent characters and drops them into a twisty mystery plot that's tightly crafted enough to generate some real narrative momentum while never getting too bogged down in its own plot that it forgets to be funny.

There is some lingering mystery left in the plot which sets up what could be a nice ride for the rest of this season.

The murderous spirit of Jason Vorhees lives on in this horror sequel, although the plot hinges on the mystery of whether the killer's body actually survives.

It's still a show defined more by emotion than plot, but structuring it this way — and moving most of the action to Jarden, which has many mysteries of its own — creates a sense of more momentum, rather than a bunch of characters wandering around in a daze.

Of course, exactly what she'll be doing in the film is for now a total mystery, given the near absolute info - blackout on plot details.

This kind of misdirection comes pretty standard with murder mysteries, but Swanberg has fun tweaking the formula to contain an element of self - awareness which results in a plot twist ending.

Deliver a murder mystery plot of the quality you'd find in a Scooby - Doo cartoon, along with a dark serious revenge story.

In Three Billboards, plot twists are equated with the mysteries of human impulse, accounting for the fact that a person's life can change in an instant and it doesn't have to feel like a clever - clever writer casually nudging chess pieces around a boarIn Three Billboards, plot twists are equated with the mysteries of human impulse, accounting for the fact that a person's life can change in an instant and it doesn't have to feel like a clever - clever writer casually nudging chess pieces around a boarin an instant and it doesn't have to feel like a clever - clever writer casually nudging chess pieces around a board.

It's a harrowing place to begin the story (with the clean - up job excruciating in its unease), but once we get into the proper plot it prefaces — a mystery / slasher genre piece — things get a lot less gripping.

Director Guy Ritchie is being quite honest in this new clip: A Game of Shadows will basically feature everything that the filmmaker's first Sherlock Holmes movie had (murder - mystery plot mechanics, witty banter, stylized action, and explosive set pieces) and make it even more plentiful or flashier - in the hopes that moviegoers will enjoy this new cinematic roller coaster ride across 19th century Europe.

There are multiple plot threads ranging from ones focused on both past and present mysteries of the healing facility, drama regarding the parents of Lockhart and his difficult upbringing, the treatments themselves, and the character of Hannah (who is the most fascinating character in the picture).

It's only in its overwritten second act that Death Spa gets bogged down, spending time with a pair of cynical police detectives, a paranormal investigator, and Michael's lawyer, and developing half - assed plot threads in the corresponding genres of murder mystery, ghost story, and corporate thriller.

That's where Frank the Bastard finds itself, since despite having a mysterious title and a mysterious premise (a young woman confronts her past when she returns to the creepy commune she grew up in), the movie just spins its wheels as it looks for the dullest way to finally admit the pitiful details of its mystery plot.

The other narrative strand with any consequence — the murder mystery (which also draws in Philip Baker Hall's shopkeeper)-- wraps up with an absurdly large plot hole.

Easily understood plot points are explained in great detail, as if you couldn't possibly understand them; integral plot points are skipped over as if that act provides a sense of mystery and suspense.

The plot relocates Nancy to Los Angeles, where a grand, opportune mystery involves a Hollywood starlet (though inconsistent in its depictions, the actress is loosely Audrey Hepburn-esque) who disappeared 25 years ago under strange circumstances.

Eszterhas's campy screenwriting is gone, and in its place is an equally explicit, but very dry pulp erotic mystery by Leora Barish (Desperately Seeking Susan, Venus Rising) and Henry Bean (Deep Cover, Internal Affairs) that seems to make the fatal mistake of taking its characters and plot a little more seriously than it should.

As with many classic mysteries and thrillers, the plot is a bit convoluted and unreasonable, yet Page Eight \'s dialogue is written with great sophistication and the production is steeped in mood and character.

The plot centers around the two as they are «hired by the Underground Investigative Service to look into the rampant «unexplained» activity in Los Angeles — all while uncovering a larger mystery that could threaten the existence of the human race.»

Added NYFF Director and Selection Committee Chair Kent Jones, «Todd Haynes and Brian Selznick have pulled off something truly remarkable here — a powerful evocation of childhood, with all of its mysteries and terrors and flights of imagination and longings; richly textured re-creations of Manhattan in the»20s and the»70s; and a magical and intricately plotted quest story that builds to a beautiful climax.»

Most notable among these is the gently playful shoehorning of genre elements into a whispery character study: 40 - odd minutes in, the film casually yawns, stretches and takes up an shaggy - dog mystery plot born of the director's love for detective fiction.

The idea of some answers to these mysteries could perhaps be enticing if I cared about any of the characters, anything about their world, or the film did anything to ignite an interest in its plot rather than offering up vague teases at answers that never come and do nothing but try to hook the bait in for the next entry.

This is definitely not a film for viewers who like lots to happen in a movie, or who want firm answers to the mysteries of the plot (or life).

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.

Jeff Nichols dabbled in this realm already with Take Shelter and in a way, Midnight Special lives on that same street — awe and mystery hovering on the edge of an elusive plot, and the same way Take Shelter builds to a muted but spectacular end, so does Midnight Special, even if it's done with bigger effects and a more spectacular ending.

Mystery and misdirection have pretty much always been a core part of the Cloverfield franchise, and in the first two films, that worked to the overarching plot's advantage.

The plot is fairly simple and, like the original, sees our characters jumping from locale to locale in search of answers as to how they fit into this mystery.

The narrative gets thicker and harder to follow as it moves forward and develops the mystery, introducing many characters and situations that play as different pieces in the plot.

Code Vein has been draped in mystery in terms of story and plot ever since its announcement.

But about 25 minutes in, another film begins and leaves this one behind, instantly transforming Crying with Laughter into a breezy «mystery» thriller with plot holes.

The central mystery of Winter Soldier's identity would be known to any modern Marvel comic fan worth his or her salt, so the writers make the smart decision to make that conflict more of a B plot in the overall tapestry of the proceedings.

In recent weeks we've also learned more about the movie's plot (see below) and seen some fantastical design for the production (see above)- but still, the fog of mystery hangs thick around Tomorrowland.

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.

Language: Korean Genre: Mystery / Thriller MPAA rating: R Director: Jong - hyuk Lee Actors: Jung - ah Yum, Jin - hee Ji, Ji - ru Sung Plot: A year after the brilliant psychopath, Shin Hyun, has handed himself in and admitted to the brutal and grisly murders of six girls, a spate of copycat killings rock the city.

Without a substantial heroine driving the narrative, in a plot that is too light on fantasy and mystery, The Legend of Longwood fails to make much impact, despite its captivating façade and unfortunately the film becomes just another forgettable adventure quest drama.

And while Altman and Fellowes are setting us up for a murder, a visiting Hollywood producer (Bob Balaban) is plotting his Charlie - Chan - in - London mystery by transcontinental telephone, breathlessly reporting that there's one butler but many valets and maids, that servants actually have tasks to perform, that there's all kinds of things that Hollywood mysteries don't show.

I can tell you, however, that co-writer and director Todd Phillips has two answers to the poor critical reception to The Hangover Part II: not predicating the plot on blackout - induced mystery and (when in doubt) more Ken Jeong.

In this modern day and age of courtroom / murder mystery thrillers there is a tendency to be either overly simplistic in there set ups or over complicated to the state of losing the plot, but Primal Fear is that rare moulding of everything coming together in not only a surprising way but a believable waIn this modern day and age of courtroom / murder mystery thrillers there is a tendency to be either overly simplistic in there set ups or over complicated to the state of losing the plot, but Primal Fear is that rare moulding of everything coming together in not only a surprising way but a believable wain there set ups or over complicated to the state of losing the plot, but Primal Fear is that rare moulding of everything coming together in not only a surprising way but a believable wain not only a surprising way but a believable way.

New York Film Festival Director and Selection Committee Chair Kent Jones said, «Todd Haynes and Brian Selznick have pulled off something truly remarkable here — a powerful evocation of childhood, with all of its mysteries and terrors and flights of imagination and longings; richly textured re-creations of Manhattan in the»20s and the»70s; and a magical and intricately plotted quest story that builds to a beautiful climax.

The mystery of the ship holds the screenplay's interest for a while, and in focusing on this, it manages to catch us off guard more than once in certain plot developments.

If you can look past the overcooked deceptions in the plot, plenty is here to admire, making Lucky Number Slevin worth a serious look for a fun and suspenseful mystery with touch of tongue - in - cheek flair.