Sentences with phrase «plot of the film focuses»

Though it's loose in narrative, the general plot of the film focuses on six female spirits (played by Colette Kenny McKenna, Krystle Fitch, Anastasia Blue, Tanya Paoli, Kara A. Christiansen and Makaria Tsapatoris), all recently murdered by the same serial killer (Bryant W. Lohr Sr.), seemingly stuck on the threshold of reality and the afterlife, confined to the labyrinth passageways of a sort of purgatory-esque edifice.

Meanwhile, X-Force could keep the funny and loose tone from the Deadpool 2 while adding some of their own badass flare from the comics, maybe having the plot of the film focus on an X-Men-level threat while maintaining that Deadpool sense of humor.

Not exact matches

Plot: The film set in post-WWII Germany and focuses on a warcrime trial of the former lover of a law student Michael Berg nearly a decade after his affair with the older woman ended.

It's not too dissimilar from last year's «A Man Called Ove» in terms of characters and plot, but the two films diverge in focus.»

Well the film was wide release, so it makes sense there wasn't an entirety of focus on the specifics, but I still think it would have worked better if it was more like the trailers professed intentions; doco style, with vignettes of alien / human scenes that emphasized and helped explain, not found footage either, like for example, after talking about Wikus in the past tense, it could focus on him for a bit then move on, but it stuck with him, and the film changed gears, I just thought it would have been better to focus on other things, as opposed to dumbing the plot down to one man and his battle against the evil government / corporation, and still stay in the doco style, it could have worked, no?

With an unhurried pace and a focus on character over action or plot, this film takes us into the mind and life of a hardened assassin and follows the story to its natural conclusion.

Towards the end it picks up, when I forgot the main plot of the film, and it focused on the son and his politician father.

Language: Japanese Genre: Anime / Biography MPAA rating: PG - 13 Director: Hayao Miyazaki Actors: Hideaki Anno, Jun Kunimura, Mirai Shida Plot: Hayao Miyazaki's latest film focuses on the life of Jiro Horikoshi - the man responsible for the design of the Japanese Zero fighter that saw much use in WWII.

Garland's film has a lot to offer for the diligent and focused filmgoer; however, its carefully structured, sometimes plodding revelation of details and plot may frustrate audiences more accustomed to quick answers and bountiful action responses, which are few and far between, but no less intense in a film like this.

The late plot turn will divide audiences (I've already identified with both sides) but it serves the film's larger focus on the well - being and recuperation of Marlo.

Both films are thankfully not concerned with dull plotting about why such an event has taken place, but instead focus on the resulting drama, provide gags and explore ethical questions about what would happen if one person completely held the fate of another in their hands.

Though plenty of the film's scenes possess an honed improv feel much like the extemporaneous riffing of Anchorman, they are also usually more focused — in terms of plotting, there's so little time to waste when the end is nigh.

The new film, which this time focuses on law enforcement's reaction to 9/11 terrorism, takes a similar approach in how it shows corruption and political concerns preventing personal justice — the classic «bigger fish to fry» seems to be the mantra of everyone involved in the plot.

As strange a film as you have come to expect from Lanthimos but with a more focussed plot than a lot of his previous work.

' greater sins; whenever the film focuses on the innate charm and charisma of its leading ladies, it is often wildly entertaining, but when the plot rears its ugly head, everything falls apart.

The problems with Hemsworth and Casey's characters are emblematic of Ghostbusters» greater sins; whenever the film focuses on the innate charm and charisma of its leading ladies, it is often wildly entertaining, but when the plot rears its ugly head, everything falls apart.

Both of Scafaria's films could have benefited from a director helping to organize the characters, focus and messy plot.

More of a focus on the plot and more focus within the plot could have made this film great, but when looking at what we were given, it is pretty darn good.

Screen Daily reports that Millennium Films is producing and financing London Has Fallen, with Focus Features onboard to distribute the film in the U.S. Butler, Aaron Eckhart, Morgan Freeman, Angela Bassett, and Radha Mitchell will reprise their roles from the first film, with the story now revolving around a plot to strike London during the funeral of the British Prime Minister.

The plot of Paris, Texas is disarmingly simple, focusing on the dramatic after - effects of a marriage's breakdown on young Hunter (played by Hunter Carson, son of writer L. M. Kit Carson and actress Karen Black); his father, Travis (a name that still had sinister resonance eight years after Scorsese's Taxi Driver, and played with shell - shocked intensity by Harry Dean Stanton); and his mother, Jane, a plain name almost willfully ill suited to the fragile, feral character embodied in the film by Nastassja Kinski.

Fortunately, the teaser avoids revealing anything too spoiler - y in that respect and instead focuses on condensed versions of action sequences, rather than major plot points from the film.

Not much is known about the plot of the next film other than the fact that it will focus on Pandora's coastal tribes with several scenes under water.

While the plot of «Infinity War» is still mostly unconfirmed, we do know the film will focus on Thanos» search for his elusive Infinity Gems, possibly tying in closely to the storyline of the comic.

Moreover, the film uses extensive flashbacks, depicting Lizzie's harrowing childhood and rise to fame, instead of focusing on the present, resulting in a periodic loss of interest in the central plot.

It's not bogged down by extraneous characters or plot points, instead focusing on the burgeoning relationships of its three leads, interspersed with some brilliantly filmed boxing and training montages.

Not only is the salacious and sensationalist male gaze, which is often present in films of this nature, completely absent, but Shortland avoids going through the motions of delivering the obvious plot points to instead focus on the subjective experiences of the character.

It's also true that analysis of visual style is woefully rare in film culture, so the fact that they focus on it at the expense of plot - and - theme analysis has value in and of itself by helping to turn the conversation toward unexamined possibilities in film criticism.

Because there is such a complicated, polluted, labyrinthine past, both America's and this American's, and because none of it can be faced and corrected, this film does what is denied a whole nation: it pares down all troublesome memories, focuses the camera on Jack and occasionally on Clara and Jack, or Father Benedetto and Jack, or Mathide (Thekla Reuten) and Jack, and finds an untormented, easily digestible Hollywood «international underworld / intrigue» plot to house the whole.

**** Zachary F November 29, 2012 this movie is sooo funny Jon C November 29, 2012 a fun, crude, and hilarious comedy two girl roomates formulate a plan to make their own sex hotline in order to make ends meet hijinks and raw laughs ensue between two very different people who embrace their sexuality via telephone the performances from both Graynor and Miller are pretty damn fun to watch the dialogue is insanely funny and gratuitous there's a very strange cameo in here too by Nia Vardalos Justin Long adds a nice touch being the supporting gay best friend mentoring these two girls it's just very awkwardly humorous listening to these people talk in this kind of film, there's interestingly no actual sex happening on screen, no boobs, no ass, no exposed body parts the plot mainly focuses on the bonding relationship bewteen the two leads which is a good break from the usual norm we're used to I can't help but feel though that the filmmakers didn't have anything left at the end, some of it felt unfinished and unresolved for all those problems, «For A Good Time, Call..»

The American trailers have focused more on the comedy and the tomboy antics of the film's heroine, Princess Merida (Kelly Macdonald), but the Japanese trailer gets deeper into the film's plot.

After swiftly establishing, commenting upon and making fun of the most cliché - ridden plot motivation imaginable for an antihero in love, the bulk of the film focuses on Deadpool attempting — in his cynical, trying - not - to - care way — to save a rage - filled mutant teenager with pyrotechnic powers from a super-soldier from the future (Brolin's Cable) intent on killing him, Terminator - style.

-- Courtney Small [LOVED] The plot plays out very much like a play, with the film only focusing on a very small cast of characters.

The film needed a tighter focus on its main story and a large plot point of Russell ending up in jail seems utterly pointless in a tale that seemingly already had the goods needed to flesh out a satisfying journey.

But James McTeigue's film is unlikely to get as warm a reception amongst us cynical Europeans who, while being more or less unconcerned with the skin colour of our protagonists, will be more focused on the idiotic plot and the dearth of inspiration, talent or gumption at work.

While it's not on the level of «bomb» (or «After Earth») as I was fearing, «Focus» is completely underwhelming, with an average plot that is rarely unpredictable, a big problem for a film about con artists.

City on Fire has the makings to be a much better film than what it is, but the meandering plotting and lack of focus to it's own themes makes it more of a curiosity than as a truly gripping action - drama.

As the pages turn faster, focusing on the hows and whys of a major crime central to the plot, this concision and velocity make the film feel like a modern thriller.

Despite the minimal dialogue and challenging pace, the film's plot is shockingly straightforward and easy to follow, Glazer's focus remaining on the power of image and mood to tell a story.

Felix Thompson's writing and editing feature debut King Jack has the kind of bare - bones plot that inspires potential audiences to think «been - there - done - that»: The film focuses on lonely, weedy small - town 15 - year - old Jack (Charlie Plummer), who's trying to dodge bullies and his overbearing big brother, and carve out a little emotional satisfaction in his barren world.

An unnecessary and lengthy subplot involving Billy's relationship with his girlfriend, Natalie (played by Cuban / American model turned actress Natalie Martinez) eats up some of the time that the film should have focused on ironing out key plot twists.

The film turns the bustling streets and chilly urban atmosphere into an alienated world where «Baby Boy» Frank Bono, the disconnected killer who prefers the isolation of his own company, uses his spite and self - hatred to focus on the meticulous details of plotting and executing a murder.

As someone who majored in Speech Therapy in college, the plot of the film further intrigues me as it seems to be focusing on the King of England's inability to speak properly due to a fairly sever stutter.

Since that film is more a series of wild experiences than a strict narrative plot, Matsuya focuses on distinct background events, with art representing Robert Pattinson's character sprinting through it all, much like he does in the film.

Between the labyrinthine plot following the complex and competing interests of various governmental agencies, and the handheld digital film aesthetic adopted by Liman and cinematographer Cesar Charlone — slightly grainy, cutting frequently to close ups that foreground and slightly fisheye the faces in focus — American Made occasionally felt like a through - the - looking glass version of the adventures of Sonny Crockett (Colin Farrell), a chronicle of semi-competence and good old fashioned greed.