Some over the top acting and
plot lines here and there, but nothing major.
Not exact matches
A few
lines of thinking
here — first,
here's John Gruber's commentary around my post about Facebook having lost the
plot:
The film is on a fine
line between fantasy and thriller with an element of sexual fantasy running through the
plot for young teenage girls, nothing strong, think along the
lines of «Twilight» teenage angst mixed with «Cursed» or a little bit of «Ginger Snaps» but not as in your face as those films, there is still an enjoyable werewolf film
here.
Here's the thing: every time a character is introduced, every time a seemingly throwaway
line of dialogue is given that little extra emphasis, every time the classic three - act structure requires a very particular
plot development... you know exactly what's coming next.
Here's a
plot summary: descended from a long
line of criminal masterminds, 12 - year - old genius Artemis Fowl finds himself in a battle of strength and cunning against a powerful, hidden race of fairies who may be behind his father's disappearance.
Stories of infidelity and theft are enervating
here — recycling half - baked
plot lines executed better in Allen's earlier work.
Even though he's the only one actually committing
here, Michael B. Jordan might as well have been phased in from another brand of C - grade rom - com as his super-sized cheesy, level 11 cliché romantic subplot butts heads with the should - be elbow nudging
plot line going on with the other fellas.
There may be a
line here or there of mine, or a
plot suggestion that was adopted, but it's pretty much Alex Garland's story all the way.
I found it best not to overthink the story
line, as I began to envision a number of
plot holes, but because the film is so involving, the viewer isn't given the opportunity to second guess any of the elements involved
here.
Taken out of their
plot context and erasing the former narration,
Here Scripts puts these extracted
lines into new connections with the site of the Atlas Studios, quoting filmic descriptions of «The Other» / «Oriental «sites, settings and people, while re-using the film sets and their tangible construction for a newly scripted, fragmented story of the site.
Favouring geometric shapes (
here, straight
lines plotted within a square and drawn on the wall in lead pencil), LeWitt established a system based on the repetition of simple shapes.
I played around with the
plots, only changing the name of the source, and it jumped allllll over the place — in some spots way higher than even the green
line on the graph you feature
here.
«How can you say «All of the satellite data presented
here end in 2000 ″ when we clearly have UAH
plot lines extending to 2008 on several graphs?
REPLY: How can you say «All of the satellite data presented
here end in 2000» when we clearly have UAH
plot lines extending to 2008 on several graphs?
Here's a
plot of the available information for the full year from Table 1 together with a
line fitted to the few points.
The
plot makes projections with simple quadratic trend
lines (details
here), which likely oversimplify matters as we approach zero volume (especially for non-summer months).