Sentences with phrase «n't narrative driven»

Not exact matches

«We conquered Reddit and drive narrative on social media, conquered the [mainstream media], now it's time to get our most delicious memes in front of Americans whether they like it or not,» one of the group's members posted to Reddit.

If you only want to hear your preferred narrative then by all means don't read anything that isn't blessed by your pastor who drives that $ 70k caddy parked in his reserved spot in front of the church.

That may or may not be the final name, but it is our working name for a new curriculum that will be theologically - robust, mission - driven, and built around the narrative of the Scriptures.

I believe what you're saying is that one data point alone doesn't drive the narrative and that I agree with.

Music, fuzzy friends and beautiful effects drive this gentle narrative, and remind us that it's not enough to simply say you «don't see color.»

According to this corporate narrative, the Gerber Products Company grew not out of a corporate - driven search to develop a new product and generate a consuming public, but out of the genuine need and inventiveness of a mother trying to prepare mashed peas for her seven - month - old child.

Not necessarily epic stories complete with plot twists and gasp worthy moments, but just a narrative that helps drive the action forward.

His turn is not one of mere impersonation; Franco's Tommy is a driven person with clear and relatable motivations, making him a sympathetic protagonist to follow through this narrative.

Django Unchained may not be one of the great Tarantino films and it loses some of its narrative drive towards the end, partially due to Tarantino's most unnecessary cameo to date.

Jerry Maguire doesn't have a conventional narrative drive, and that's part of its charm; it's a movie of quick feints and jabs.

Though the scribes don't stop the narrative from being as chaos - driven as the first, they spare the slow start and allow the visceral thrills to take over more quickly.

I don't know if anyone has made the comparison yet (I've avoided most reviews), but the film reminded me quite a lot of Michael Mann's neo-noir «Thief,» both in narrative drive and in stylistic signature.

That forward thrust, that sense of both character and audience not knowing how he'll react, or what he'll do next, gives the film an exciting narrative drive.

It's executed with empathy, but not to the point where The Keepers lets a foregone conclusion drive the narrative.

Not only that, it doesn't have the same narrative drive that was present in the first two books.

Locations don't pop, nor do they ever augment atmosphere and narrative - drive.

Its main concern isn't with the narrative momentum, or character - driven actions as it should be, but rather with big, hulking action set - pieces.

But where Hong relentlessly deconstructs his narratives, laying bare their artifices and exposing the lonely needs that drive us to invent them, Bogdanovich the classicist is content to faithfully recreate the form of the old (his zooms are subtle and patient, not Hong's wild, drunken lurches), with nothing but a sly wink to the audience to remind us of the precariousness of our ideals.

If it sounds like the film isn't much in terms of plot, a driving narrative has never been one of Stillman's motivations.

In fact, it's probably a little overdone — the two parts of the narrative can't be more than 6 years apart, surely — but it certainly drives home the point that they're completely different people from when they first met.

Not helping is dialogue composed of the sort of shorthand catchphrase idioglossia meant to imply years of familiarity but only succeeding in making one pine for the days when Kasdan was penning (he shares a screenwriting credit here with Goldman) strong, character - driven genre pieces (The Empire Strikes Back, Raiders of the Lost Ark, Body Heat, Silverado) without narrative crutches and meandering shortcuts.

It is as much a colossal void as the vacuum that serves as its backdrop, so relentlessly plot - driven that it resembles a video game not only in its near - total animation but in its stage - oriented narrative movement.

It isn't without intelligence, it's just that it doesn't connect all of the dots necessary in the narrative development to be anything other than a collection of interesting scenes that never coagulate into a force to drive its cynical message home.

Anyone who watches a Tarantino movie like that is phony; he is not admitting the true narrative drive that Tarantino creates.»

The former half of the narrative contains one of Bissell's favorite scenes: When Sestero's worried mother warns the unearthly Wiseau, who's about to drive Greg from San Francisco to L.A., not to hurt or have sex with her son.

It isn't that Best Picture hasn't always been mostly dominated by male narratives — it's that the strong female - driven movies started to fail to catch fire at the box - office around the mid-90s and once that happened, there has never been much of an economic incentive to get those films made.

Taken collectively, these artifacts are the mother of all MacGuffins - plot devices that drive the narrative, but may or may not have much to do with the true message of the story.

It may not have the rich visual flourishes that a David Fincher or a Danny Boyle might have brought to the table, but Sorkin, in a solid directing debut, knows instinctively how to shuffle images, dialogue and music together for maximum narrative drive.

His previous film Drinking Buddies didn't have much of a narrative drive either, yet its rambly quality and ruminations on love were charming and slyly meaningful.

Unlike a film like Frances Ha, there's not much particular narrative drive in this film.

- Bob [LOVED] While not as solid a film as Cloud of Sils Maria, Kristen Stewart continues to demonstrate that she is quite capable of driving a dramatic narrative.

«One Flew Over the Cuckoo's Nest» was set in confinement, too, and like that story, the narrative drive of «The Shawshank Redemption» - based on a story by the prolific Stephen King - is a journey of freedom, physical and psychological.

This is not a plot - driven narrative.

And like the old «Secret Life of Walter Mitty,» starring Danny Kaye (I haven't seen the remake yet), it offers a narrative that's at least one - fourth occupied by fantasy segments — yet there isn't enough variety in those segments or enough revelation of character beyond the «I wan na be famous» impulse that drives Pupkin to make them interesting.

The late, great director Sydney Pollack drives rigid thrills into the narrative thanks to his fine performers, particularly Robert Redford, who gives Condor a snappy edge — the audience isn't even entirely certain they trust him for part of the picture.

Overlord, with its continual refrain of a soldier's vision of his own probable annihilation, its ominous flash - forwards, and its striking mix of fiction and documentary, certainly has its place among the great death - driven modernist narratives of its era (Nicolas Roeg's 1973 Don't Look Now and Sam Peckinpah's films come immediately to mind), and it has a clear kinship with Kevin Brownlow's similarly handmade «period epics» It Happened Here (1964) and Winstanley (1975).

Apparently, Ken Levine isn't leaving video games but will be taking on narrative - driven stories for Take - Two Interactive and will focus on digital distribution for future titles.

But what it might lack in narrative drive, it more than makes up for in a beguiling, melancholy mood not quite like anything they've made, abetted by photography that's among the directors» most beautiful, despite the absence of usual collaborator Roger Deakins.

Reitman and Cody aren't especially interested in a narrative that's about a woman rediscovering the joys of family life — or, for that matter, one that's about a woman casting off those shackles, despite a late - movie sequence where Marlo and Tully tear it up in the former's old Bushwick haunts (complete with the perfectly and silently observed rigmarole of driving into Brooklyn from the suburbs even when there's not much traffic).

There was, if not an extinction - level event, definitely a pretty disastrous one driving the narrative here, as Marion Cotillard's severely put - upon, pill - popping worker, Sandra, is subject to the humiliation of having to beg her colleagues to forego their bonuses so she can keep her job.

The game is not only one of the best narrative driven games it is just so different then anything else on the market today.

by Bill Chambers The Lucio Fulci apologists like to say that gore and general impropriety are the raisons d'être of his work, not storytelling, but there's a built - in fallacy to that implicitly macho challenge: It presumes that his films are light on narrative when in fact it's narrative drive that they lack.

The philosophical vignettes might not have the narrative weight to be anything other than beguiling curios tossed out and then forgotten about but there are enough of them, delivered sharply enough by delightful movie stars at the top of their game, to make Age of Ultron one of the most thoughtfully driven monster vehicles you are likely to see in a summer rammed with powerful, glossy, mechanised beasts.

After some brief moments of Bruce's act during his brief prime and more of the film's frequent Kane - like interview - driven narrative, the film starts in earnest — not with star Dustin Hoffman recreating the comic's early nightclub days, but with Perrine recreating the early career of Honey Bruce, a.k.a. stripper Honey Harlow.

Another scene with Jeff at one of his lowest moments driving drunk with the help of his friends, is played for laughs and doesn't advance the script or the narrative.

Describing «Drive» in those words doesn't begin to do justice to the narrative rhythms and visual style that director Nicolas Winding Rehn applies to the screenplay by Hossein Amini, who adopted a novel by James Salli.

There perhaps weren't as many female driven narratives as I would have liked but there certainly some powerhouse female performances.»

He's not just any getaway driver, he drives too a killer soundtrack that features BellBottoms, Let's Go Away For Awhile by The Beach Boys, Easy by The Commodores, Brighton Rock by Queen and 26 other songs built into the film's narrative.

Those familiar with Boylan's bestselling memoir She's Not There: A Life in Two Genders will be unsurprised by the dark humor and beautiful prose that drive the narrative.

Besides Kunzru, Haruki Murakami clearly falls into this category (especially his 1Q84, 2011), as does Nick Harkaway (in Angelmaker, 2012), but David Mitchell also deserves a seat at the head of the translit table, and his new book, The Bone Clocks, just may become the quintessential example of translit fiction, not only in its complexity and thematic richness, but also in the remarkable narrative propulsion that drives its many - cylindered engine.