Sentences with phrase «plot point in the story»

The telegraph was a new technology and still a bit mysterious when Dumas made it a small but crucial plot point in the story.

choices, I know it's a plot point in a story veteran designer Tetsuya Takahashi is telling me as I play the game he and his team have made for me.

Additionally, to prevent grinding, until you pass a certain plot point in the story, you're capped at level 15, no matter how much experience you gain.

Here's a quick guide to the level pack with locations of all the major plot points in the story without giving too much detail.

Not exact matches

The acting level at this point, in conjunction with the terrible story line and plot points really take the cake.

While both installments were treated as thematically and stylistically separate entities, as opposed to a single finale story that was just split in half and to be continued, the exclusion of certain plot points from both books made both film adaptations feel as though they were lacking in emotion.

In conclusion, there are melodramatic spells, as well as some focal unevenness, spawned from hurrying past certain plot aspects that really aren't all that needed in the first place, being not much more than supplements to the rather repetitious bloating that makes this overambitious effort too overblown for its own good, though not to the point of completely dismissing its engagement value, as there is enough sharpness to the production designs, cinematography and score work to provide striking style, as well as enough story value, brought to life by inspired writing, direction and acting, - particularly by leading lady Halle Berry - to make «Alex Haley's Queen» a rewarding near - epic study on the struggles faced by the mulattoes who struggled to fit into a post-slavery society that was rich with racial tension and plenty of other life challengeIn conclusion, there are melodramatic spells, as well as some focal unevenness, spawned from hurrying past certain plot aspects that really aren't all that needed in the first place, being not much more than supplements to the rather repetitious bloating that makes this overambitious effort too overblown for its own good, though not to the point of completely dismissing its engagement value, as there is enough sharpness to the production designs, cinematography and score work to provide striking style, as well as enough story value, brought to life by inspired writing, direction and acting, - particularly by leading lady Halle Berry - to make «Alex Haley's Queen» a rewarding near - epic study on the struggles faced by the mulattoes who struggled to fit into a post-slavery society that was rich with racial tension and plenty of other life challengein the first place, being not much more than supplements to the rather repetitious bloating that makes this overambitious effort too overblown for its own good, though not to the point of completely dismissing its engagement value, as there is enough sharpness to the production designs, cinematography and score work to provide striking style, as well as enough story value, brought to life by inspired writing, direction and acting, - particularly by leading lady Halle Berry - to make «Alex Haley's Queen» a rewarding near - epic study on the struggles faced by the mulattoes who struggled to fit into a post-slavery society that was rich with racial tension and plenty of other life challenges.

Sicario is a well written story, however the film does fall short in some scenes with slow moving plot points and a handful of unnecessary scenes.

Rockstar's keeping the details of the plot close to its chest at this point, but we're expecting the game's story to play a crucial part in Redemption, perhaps more so than any other Rockstar game.

The season adapts around these two plot points, never letting those overlapping stories get in the way of the simpler jokes.

Muller is particularly illuminating when discussing Otto Preminger's formal inventiveness — his long, subtle takes, his ability to create compositions that essentially edit the film within the camera — and the various noir «types» that inhabit the narrative, such as the «bad cop» or the sickly neighbor who, in Muller's words, is often «waiting around to be a plot point in a crime story.»

Because of the game's adherence to the manga's plot, you are limited in who you are able to play as in each level — i.e., you are only able to play as the members of Luffy's crew who were present during any given point of the story.

The «Sherlock» TV series keeps many details of the original series — for example, it still makes sense for John Watson to be a doctor who served in Afghanistan as he was in the original stories — but other plot points are updated for the show, with cell phones and other technology often used by the criminals whom Sherlock and Watson are hunting and by the pair themselves.

With plenty of dumb puns, the straight - line story barely ever hits a plot point in a movie that coasts on its primary conceit of watching dogs talk and interact as if they had a frontal lobe.

Throughout the story, we're often only told of seemingly vital plot points through second hand accounts, characters tend to change their outlooks without reason merely to fit in the story's trajectory and our main antagonist is a cookie - cutter villain who simply confronts Hope with little reason other than he's on set to be a contemptible dude.

The most exciting post-game content is a handful of special story missions that expand upon plot points either untouched or merely mentioned in the movie proper.

When a movie about the African - American experience in Jackson, Mississippi, during the early 1960s bypasses the assassination of Medgar Evers to move on to a plot point about a pie made of human feces, though, one has to question the story's priorities.

As is the way of these movies, from The Big Sleep on down, the plot overcomplicates a simple story to the point where things can be outright confusing — especially so when many of the characters are high in the process.

And while the plot brings the story of rogue — almost invincible — entities wiping out various interstellar crews full circle, one wonders what the point of the entire enterprise was and who was clamoring for such an effort in the first place.

From the opening sequence of young Mowgli (Neel Sethi) racing through the jungle in the company of his adoptive wolf family and his feline guardian, the black panther Bagheera (Ben Kingsley), through its comic setpieces with the layabout Baloo the Bear (Bill Murray) and its sinister interludes with the python Kaa (Scarlett Johansson), the despot orangutan King Louie (Christopher Walken), and the scarred Bengal tiger Shere Khan (Idris Elba), the movie bears you along on a current of enchantment, climaxing in a thunderous extended action sequence that dazzles while tying off every lingering plot point, and gathering up all the bits of folklore, iconography, and Jungian dream symbols that have been strewn throughout the story like Hansel and Gretel's breadcrumbs.

In case you've missed The Legend of Zelda: Twilight Princess HD when it was available on Nintendo's previous two consoles, Nintendo has released a new story trailer that highlights the plot points of Twilight Princess HD.

Yet nothing is obvious in a Johnson picture, even in a story throws the time - honored plot points from such diverse movies as «The Terminator,» «High Noon,» «The Fury» and «Le Samourai» into a mind - bending blender.

Inception is so mournful and sad, in fact, that at some point you forget about the plot twists and turns and find yourself caught up in this sad love story.

The only minor nit is that some of the book's final scenes pick up on story threads from much earlier in the series — like from books 3 and 4 — and if (like me) you haven't read those volumes in 15 or so years, the resolution of these dimly - remembered plot points lack the narrative punch they might have had.

The weirdness of a baby in a suit overshadows that plot point entirely, making the story feel like little more than an excuse to let Boss Baby make poop jokes.

The first big plot point comes across at an odd distance, more like a news story we'd see reported on TV than as a tragic event dramatized in a big political thriller.

The Terminator franchise has always existed somewhere in the mushy middle between unified stories told across multiple films (The Lord of the Rings, Harry Potter) and serial stories free to change actors, back stories, and plot points (James Bond, any superhero franchise).

It's a story that doesn't quite come together as well as intended, and although all of the plot points are in place to deliver something meaningful, it just fails to truly connect.

The amount of story trying to be told in Deadpool 2 slows the film's pace ever so slightly in the first act, as screenwriters Rhett Reese and Paul Wernick set the table with a lot of plot points that asked to be explored.

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.

Of course they've made huge progress in their personal stories, which is the point, but there's something sadistic about slowing down the plot in the final moments so that the characters can have little moments of their own.

What has been sold as the first of a very large franchise, Fantastic Beasts delivers a terrific story, not overly - dependent on the Harry Potter series, but that will most likely set up some major plot points in the Potter tales that we aren't aware of yet.

Caro's film fails the most when the narrative injects plot points that feel wedged into the story, such as Jan's fight in the resistance and Antonina's second pregnancy.

But if you take that secondary plot point out the equation, this story is essentially a wordy political battle of deception and infidelity (standard in regal politics around that time).

My theory is that people don't read his books for the rather rudimentary, step - by - step, point - to - point thriller elements that form the backbone of the story so much as for learning a little bits of history, philosophy, and even fantasy elements that reside above the surface, many of them expounded upon at length in between the plot points.

In concluding his saga, Lucas has managed to tie up the majority of the loose ends he has left open (the few remaining are either minor plot points or the obvious bigger - picture threads that must remain exposed for the story of the earlier films) and has also revealed a larger thematic relevance to the myth proper.

So much concentration comes to the look of the film and in immaculately dressing up the quality actors, it's a disappointment that the same passion hadn't been applied toward the story itself, which touches on plot points without stopping for moments of reflection before we're given another.

The stakes are small compared to what tends to happen in American movies now; the story is rather slight; the filmmakers pay closer attention to the small details of character interaction than to the fine points of plot.

The story feels like a whole lot of half - hearted attempts at an interesting idea, and this is where I can only assume (since this is from the director that brought us the awesome La Haine) that all the clever plot points were blunted in an attempt to make the film a little more mainstream.

And here's where Boyhood becomes a special case: More than almost any movie I can think of, the emotional and fascinating story of how it was made is practically part of its plot; it doesn't need to be sold as a campaign talking point because it's manifest in every frame.

The Assassin's Creed comic series has just reached a moment in the franchise's overall story which fans have long awaited - a point the series» plot arc has been building to for nearly a decade.

Once basic literary terms (such as point - of - view, dynamic and static characters, conflict, exposition, rising action, climax, falling action, and resolution) have been taught and reviewed by the teacher, the students are to ready to read Edgar Allan Poes story «The Tell - Tale Heart» and discuss it in terms of plot sequencing and character development.

They then retell the story in pairs, each child physically taking a step at key points in the story and verbalising the plot.

Knowing that story follows Shakespeare's three Act formula, with act two lasting twice the length of one and three, divided in the middle by the highest (or lowest) point of (emotional) action, it occurred to me that plotting stories on a circle might work.

Plotting (if approached advantageously) is about planning out the story path you'd like to pursue, by identifying or pin - pointing (and securing), a selection of pivotal story elements (or major plot points), in advance of starting the writing journey.

When asked to read a story and arrange 14 plot points in the correct order, Kindle readers performed twice as poorly as those who had sat down with a paperback.

That plot point is where the story changes to put the protagonist in a bind and is often a «gotcha.»

When asked to read a story and arrange 14 plot points in the correct order, Kindle readers performed

(Note that Camy mentions using the Black Moment for the Disaster, but many sources say to limit pitches to the first third or so of a story, so this might instead be the first turning point in the plot.)

The book is called The Prize, but the art award in question, advertised as a pivotal plot point, only becomes important very late in the story.