Sentences with phrase «narrative sense out»

So the homework assignment given to the Russo Brothers is worthy of its own recognition, because making any kind of end - product with even a lick of narrative sense out of this intellectual property grab - bag is, frankly, awe - inspiring.

Not exact matches

This show suggests this is a common narrative among our generation — that though Dory longs for a greater sense of purpose, life can turn out to be numbingly normal.

It was a matter of setting out the larger story, the narrative framework, which makes sense of and brings order to God's world and God's people.»

Indeed, as early as Origen in the third century it was being pointed out that we must not think of the Ascension as a movement in space; and in fact Luke seems to have translated into mythical form, i.e. a pictorial narrative, the universal belief of the early Church that Jesus has ascended to the throne of God, not in a physical manner but in the sense that he has been exalted to Lordship over all the world.

In fact, sparing us the gratuitous party scenes is not just good sense but an intrinsic element of the narrative since, thanks to a self - administered mickey that turns out to be roofies rather than E, the central characters have no more idea of what went on the night before than we do.

By turns high - octane and slow - burn, it manages to hold the viewer's attention for its nearly 140 - minute running time, although there are instances when the narrative gets bogged down in subplots and there's a sense that some additional fleshing out of key relationships (something that could only have been accomplished in a mini-series format) might have resulted in a more satisfying ending.

That the film makes almost zero sense is besides the point; those worrying about what Frank's job is, how Mitch's nerdy co-workers find out about the fraternity, or why Mitch's standard - issue love interest Nicole (Ellen Pompeo, who looks like a more sandy - haired Renée Zellweger) has any interest in the doofus will be flummoxed by the gaping holes in logic and narrative cohesion on display.

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.

So a story within a story plays out and yet this detailed, layered and sprawling narrative has a lightness of touch thanks to its great sense of humour and Anderson's passionate hand.

A strong sense of style, an observant screenplay, and the sort of performances that elevate standard fare into the realm of memorable buoy the picture over many of its rough patches and redundancies, but Lin needs to squeeze out his narrative with greater urgency and balance: long periods of high school drama and exposition separated by badly justified epiphanies undermine the picture's coherence and flow.

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.

The final scenes threaten to drown out any sense of originality on the subject, as the narrative merges with the collective populace's impressions of the guy: he's no doubt an inspiration.

Unlike previous PvE modes, where four players are either fending off waves of enemies or completing objectives ripped straight from Overwatch's multiplayer modes, Retribution has a sense of distinct purpose and narrative flow, as Reaper, McCree, Genji, and Moira progress through the streets of Venice in order to escape a botched infiltration mission, taking out whoever decides to get in their way.

Right away you get a sense of what Refn is going for in The Neon Demon, opening with an arresting shot of a girl covered in blood and sprawled out on a fainting sofa — it's just one of many visual nods that drives the narrative forward, hinting at the story to follow.

At its heart, the story might be called an amalgam of style more so than something one could make a compelling tale out of, but the richness of the characterizations and environs bring the narrative to life, with a good sense of wit, romance, and satire.

His explanation of how he devised effects sequences first and then figured out how to make them part of a narrative makes sense when you see the lumpy finished product.

Set in Gillan's own hometown of Inverness, the film uses the tragic history of the Scottish Highlands (which has the highest suicide rate in the U.K.) to spin out an intimate coming of age tale, bolstered by Gillan's dark sense of humor and a firm understanding of how to play with narrative conventions.

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.

It covers the following lesson objectives: • become very familiar with... traditional tales, retelling them and considering their particular characteristics • begin to punctuate sentences using a capital letter and a full stop, question mark... • make inferences on the basis of what is being said and done • write sentences by: saying out loud what they are going to write about; composing a sentence orally before writing it; sequencing sentences to form short narratives; re-reading what they have written to check that it makes sense • read aloud their writing clearly enough to be heard by their peers and the teacher.

Finn and Ray both get satisfying narrative arcs despite the constant movement, coming out of the film with a satisfying sense of change, but this speed does come with its pitfalls.

As soon as the trailer opens with Max's narration I could instantly tell that Rockstar have not totally chucked out the Film Noir core that makes the Max Payne franchise unique.Which makes a lot of sense as one of Rockstars biggest releases this year has been LA Noir, which again follows a film noir narrative.

Likewise, it was a community outrage (a sometimes overly - aggressive one) that forced Bioware to address their lazy, written - on - a-napkin ending to the Mass Effect trilogy, while journalists mumbled out a half - baked «sense of entitlement» narrative.

What does make me feel like a part of narrative is going out and doing things that make sense and are related to the task at hand.

That said, even with its faults, Yakuza 5 is really one of those games where everything comes together both in a narrative and a gameplay sense to provide an experience that can't really be matched by anything else out there.

But seeing extra-shiny thermoses provides a narrative distraction that completely jars me out of a sense of immersion.

This does give more of a complete sense of narrative to the Ninja World Tournament, as the events that take place play out very similar to the Ninja World Tournament from before.

Engineering a true sense of player agency while simultaneously delivering a compelling story is certainly no mean feat, and the jury is still out on whether the narrative of Rime can dazzle its audience in the manner of its tropic environments.

Translated from the French as «out of field,» or more colloquially «off - camera,» the term «hors - champs» refers to the capacity of certain images to create a sense of narrative space beyond what is immediately shown by the camera.

My sculpture is made with industrial - level craftsmanship to project an amplified sense of credibility, and my videos tap into the playful imagery of early music videos to flesh out the kaleidoscopic drama of my narrative.

Though fragmented and abstracted, the narratives played out between the performers in Relinquish allude to power structures within relationships in the broadest sense of the word — romantic, sexual, familial, societal and cultural.

The absence of a human figure tasks the objects in the paintings with suggesting a narrative arc, imbuing them with a sense of mysterious drama — a door that is slightly ajar, a glass of water left on a bathroom sink, a broom leaning against a wall are the only evidence of the presence of a person, perhaps having moments before walked through the picture frame, or lingering just out of sight.

Schwartz views painting as a way of making sense, a way of making implicit experience explicit, of giving form to what is unformulated: «I don't set out with a preconceived agenda or narrative when I paint, but work to be mindful about discovering meaning in my process, my way of going about making a painting.»

But to answer your question, yes, there are a lot of artists here who are doing work that I feel close to, and it evolves around ideas of treating art as a language, and consequently inventing narratives that come out of that, and not in the 1960s sense of the Gombrich great narrative of art, but something that is a construct.

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.

The important thing is to convey some sense of narrative, which in some instances may mean leaving out positions that don't relate to the big picture; if you primarily work in accounting, you might leave off that one summer where you worked as a cashier at CVS.