Sentences with phrase «narrative works best»

There's a voter market and competing politicians for it, and if the bogus climate science narrative works best, that becomes the determiner of funding.

The narrative works well to engage viewers; there is sufficient mystery surrounding the case the pair are investigating.

Not exact matches

But the narrative already has the makings of a feel - good Hollywood movie — so it should come as no surprise that a feature film dramatizing Ma's rags - to - riches rise is already in the works.

But the human mind is made to fall for stories and miscalculate the odds when a good narrative is in place, as has been usefully described by the work of Nassim Taleb and Daniel Kahneman, among others.

Narrative sermons can work well — with narratives — but a narrative preacher can't handlNarrative sermons can work well — with narratives — but a narrative preacher can't handlnarrative preacher can't handle Romans.

With the exquisite literary attentiveness characteristic of the best recent work in theological exegesis, Sacks shows us that each of these narratives harbors a counter-narrative, which teaches us to sympathize with the character who is not God's elect or chosen one.

Thus, if we use the now standard symbol of «J,» «E,» and «P» to designate the three most conspicuous narrative strands inter-woven in Exodus (as well as in Genesis and Numbers), we will think of «J» as the recording of early traditions which remained current and fluid down to the tenth century B.C., when the J - work was done by a single man (in this respect probably unique among the three primary sources).

The real myth, in other words, may be that there can be religious freedom at all in the modern state without a strong religious tradition acting both as a curb to the state's power on behalf of believers and nonbelievers alike and also as an alternative narrative within which people can work out their individual visions of the good life.

Destructive biblical criticism, exemplified for years in the work of the so - called Jesus Seminar, eviscerates the gospel narratives of all theological power and leaves us, at best, with a Jesus made in our own image — political agitator, cynic sage, new age guru, etc..

Each individual work bears the hallmarks of an historical context, which embeds a complex narrative incorporating literary and philosophical references as well as visual word games.

I find it hard to fathom how Dominic Cruz, as a fighter himself, doesn't seem to mind completely ignoring a particular fighters good work because he knows which narrative the UFC prefer.

A lengthy, well - researched, and powerful article in the Spring 2015 issue of the NCAA's Champion magazine, not only reports the belief of many top concussion experts that the media narrative about sports - related concussion trace has been dominated by media reports on the work of Dr. Ann McKee, which was the centerpiece of PBS Frontline's League of Denial, but Dr. McKee's, however belated, mea culpa that «There's no question [that her autopsies finding evidence of CTE in the brains of most of the former athletes were] a very biased study,» that they involved «a certain level of... sensationalism», that there were «times when it's overblown» and went «a little too far.»

Case studies and narratives about what works and what effective practice looks like are key, and for this we need evidence of best practice examples from practitioners.

While I think mothers work hard to carve out their own boundaries, we've fallen into the conditioning of leaving ourselves out of the narrative, when it is a relationship... Anyway, this has been expressed by mothers far better at expressing than I am.

Still, that didn't work so well for politically active women and behind the scenes another bleaker, less cheerful narrative operated in respect of men and women alike.

Our narrative's supposed to be hard - working people better off, NOT artisanal carbofucks doing a Pride and Fucking Prejudice minuet round some hipster - ass bakeout!»

But Cuomo has worked well with the chamber's ruling Republicans, and reaching across the aisle to get things done is a fundamental part of his narrative.

Ed Miliband doesn't need to set out concrete policies — it would be good if the Labour movement is given a real opportunity now to help draw up that political alternative, but the party desperately needs a narrative and to be seen identifying with working and middle class voters who now find themselves at the sharp end.

Then Barrow works through a lively history of mathematical concepts, which never ducks the hard bits — including equations — but locates them so well within the narrative that it is impossible to be more frightened than fascinated.

Goodfellow has been working on machine - learning models to let computers invent more dynamic narratives, which could go beyond limited scenarios such as planning out a series of chess moves — something computers have done extremely well for decades.

Though always intriguing and making use of stunning visuals and an evocative atmosphere, this esoteric Western of religious references is still an unripe Jodorowsky, clearly lacking in narrative structure before he started developing better his ideas in later works.

Critics found Beasts to be magical, poetic, distinctive, and emotional, though a few found that the visuals worked better than the narrative.

«Starred Up» works best when it is subversive, subtly turning the narrative on its head.

Yes, it happens and certainly works well in this story, but it is far from the main action beat or narrative high point.

The works of Max Brooks, who wrote 2003's satirical and subversively political, «The Zombie Survival Guide», and 2006's, «World War Z: An Oral History of the Zombie War», provided the kernels of inspiration for this mega-budgeted horror - action - thriller that mostly makes up its own narrative, independent of much of the book content (jettisoning the first - person account style and most of the events), to make it fit more with the ranks of current, eye - candy loaded popcorn movies than a thoughtful adaptation of the best - seller.

It's fairly tedious stuff that's compounded by a lack of narrative momentum and an almost aggressively deliberate pace, with, in terms of the latter, the movie's slowness ultimately preventing the viewer from working up any interest in (or enthusiasm for) the protagonist's feel - good antics.

The episodic bent of the film's first half - much of the narrative seems to follow the central characters as they fight one fire after another - does test the viewer's patience to a fairly demonstrable degree, and it's clear that Backdraft, by and large, works best when focused on the rivalry and relationship between the central figures (and how it ultimately affects their respective work).

While Unsolved isn't quite as slick and incisive as that FX series [American Crime Story: The People v. O.J. Simpson], it is an absorbing, provocative, and extraordinarily well - acted work of television that takes a narrative approach just novel enough to make you feel like you're seeing these long - cold cases through fresh eyes.

When the dance is finally beat, Robert Baker... or Alabama, there's something endearing enough about the pretty points in cinematography and score work, touching occasions in entertainingly well - paced direction, interesting spots in a colorful story, and across - the - board decent performances - especially the one by Evan Rachel Wood - for the final product to border on decent, ultimately falling under the overwhelming weight of the glaring tonal and narrative incoherencies, flat humor, dramatic contrivances, problematic themes, even more problematic leads, ridiculous story and onslaught of clichés which render Andrew Fleming's «Barefoot» an occasionally charming, but mostly mediocrely misguided romantic dramedy.

There's little doubt, ultimately, that the character works best in extremely small doses and yet much of the narrative is focused entirely on his somewhat obnoxious (and completely unsympathetic) exploits, which ensures that large swaths of The Disaster Artist completely fail to completely capture and sustain one's interest - although it's hard to deny the effectiveness of certain making - a-picture sequences in the film's midsection (eg the shooting of the infamous «oh, hi Mark» scene).

Though Braga's performance sometimes outshines Mendonça's leisurely two - and - a-half hour narrative, in its better moments the two work in marvelous harmony.

It's ultimately clear that The Finest Hours is at its best in its relatively propulsive first half, as director Craig Gillespie, working from a script by Scott Silver, Paul Tamasy, and Eric Johnson, does a nice job of establishing the the central characters and the dangerous circumstances in which they find themselves - with the screenplay, which also emphasizes the ongoing exploits of Bernie's girlfriend (Holliday Grainger's Miriam), generally juggling the various narrative threads to seamless effect.

Filmmaker James Foley, working from a script by Niall Leonard, delivers a blandly - attractive production that delivers everything one might've expected, admittedly, with the smattering of thriller - oriented elements compensating for a narrative that's occasionally just a little too lackadaisical for its own good.

A more unconventional narrative like one used in Pulp Fiction or Kill Bill wouldn't have worked as well here.

A Madea Halloween has all the earmarks of a play and it shows quite often through out its structure, which sadly goes against the three - act narrative that makes movies work when done well.

The conflict serves as a manipulative backdrop for the couple's relationship, and though the script tries desperately to make the metaphor work, it feels shoehorned and iffy at best, resulting in a jumbled narrative.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

It's those narrative conveniences that make «In Darkness» feel slick and worked over - the sense that an immensely powerful story of survival has been cut to fit the cloth of a by now well - established genre.

The way the game manages to weave simple RPG mechanics on top of the narrative works surprisingly well, even if, ultimately, it all feels like a curious throwback to the days when even the most basic graphics were something of a luxury.

While there are standout examples — like Darren Aronofsky's disorienting, eye - opening Requiem for a Dream, or the achingly beautiful narratives of animated animal - people addicts in BoJack Horseman — sagas like this one usually work better on the page than on the screen; the brief gloss of film can make drug use seem rather too appealing, while the idea of spending eight TV seasons with an addict seems rather unappealing.

Known for complex narratives that often concern a network of characters engaging with the mediation of identity, truth and history, Egoyan's work over the last decade plus applies these concerns to a variety of film subjects, as well as installations, plays and operas.

He added, «The movie works so well for several reasons, and they don't all have to do with the spectacular special effects... [«Star Wars»] relies on the strength of pure narrative, in the most basic storytelling form known to man, the Journey.»

At the same time that it works as a narrative, Walkabout is just as good as a film about nature, languishing on scenes depicting the exotic creatures one might find in the Australian outback.

Sure, the flick is not perfect, but it does a good job of meshing real - life events and dark, literary works with the fictional narrative!

Danny Strong, well - known for his work on HBO tv biopics, teamed with Lee Daniels to pen the screenplay that manages to somehow balance the epic sweep of the narrative and the more subtle intimate social commentary.

But though it could be viewed as a series of short, fun, film pitches - Channing Tatum's happy sailor tap - dancing routine was a favourite - wrapped up in the larger narrative of a movie star being kidnapped, its so beautifully put together, well - performed, tightly - scripted and deliberating making fun of itself that it works.

Some of the minor characters don't work as well for the film as they do for the book due to the pacing of the film and overall narrative.

Falling between existentially thorny and viscerally haunting, Minority Report is a passel of missed opportunities, clumsy narratives, and misspent potential, the latest Spielberg film to work best as an analogy for his middle - late career.

It takes a good storyteller to hone in on the defining moments of one's life without descending to biographical collage narrative work.

The performances of the young cast are very natural, and Sloma is perhaps the standout: she is given the opening and closing sequences as well as at least her share of the interwoven narrative, but the film couldn't work without her confident portrayal of a young woman on the verge of maturity.