Sentences with phrase «plot points of the film»

Jack confronts this faker and discovers one of the big plot points of the film (no spoiler here).

Agent Whiskey gets bogged down by some of the more outlandish plot points of the film.

But at the same time, Cinderella could win on the balance of the blue dress alone, which is not only stunning but also a major plot point of the film.

The specific plot points of this film are about as important as the dialogue.

Bell does some good work, Mamie Gummer (Meryl Streep's daughter) is solid, and Martin Starr is funny as always, but if you saw Melanie Lynskey's Hello I Must Be Going last year, you've already seen the major plot points of this film play out in a much more effective manner.

Not exact matches

Rather than hitting all the major plot points of Jobs» life, the film presents fictionalized versions of behind - the - scenes looks at three product releases from 1984 to 1998.

Editor's Note: The following interview with Noah screenwriter Ari Handel contains some minor spoilers and discussions of items that deal with major plot points in the film.

The plot is loosely held together by quite a bit of setting up and falling down, devoting much of its runtime to making you want to care about what the Pentagon Papers are, how the newspaper operates, and what's clearly at stake, before finally getting to the point where everything finally comes together, which is when the film is at its sharpest.

I've said many times in my reviews that many of the best films in any genre use their premise to create subtext, almost to the point where the superficial plot is no longer the most relevant or appealing aspect.

Their fabricated stories occasionally dissolve into something much more honest; Jack, perhaps the most emotional of the brothers, is a short story writer, with suspiciously familiar plot points and characters he insists are fictitious (from the short, Hotel Chevalier, which accompanies the film at the festival, we know this is not true).

It's sort of a smorgasbord of 90s indie cinema plot points, but the go - for - broke attitude leaves the whole film a stale, mediocre mess.

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.

That scene sets the stage for the plot of the film, which surprisingly, takes place over a very concentrated point in time — only a month, really — when the Civil War was limping to an end, and Lincoln was rushing to pass the 13th Amendment to ban slavery.

There are plenty of plot points that don't bear up to closer scrutiny in the aftermath but a big part of the film's success is a result of pairing Bateman and McAdams.

Like Gleeson and Byrne, Gluck seems to recognize his film's inherent frivolousness, frequently calling attention to some of the screenplay's plot mechanics and hacky tropes — at one point even hanging a lampshade on Peter's famous blue jacket, in acknowledgement of the object's trite value as an emotional symbold.

Unlike franchises overexplained to breaking point, the sequel repeats the no - frills plot of the first outing with no further depth — which means that as a film, it needs to work as an engine, primarily, to scare us into submission.

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.

That was obviously one of the high points of the film, but what makes the film good is the elaborate plot twists that the film offers to the unsuspecting viewer.

With all of my complaints about how this film all too often discards promising plot areas to spark a sense of unevenness, hurrying, outside of that area of storytelling, is hardly a big deal, so what this series really has to worry about is, of course, bloating, because all of this unevenness, as well as repetition, could have perhaps been avoided if this saga wasn't just so blasted overblown, not necessarily to the point of falling flat as too sprawling to stick with, but decidedly to the point of feeling rather overambitious.

For the remainder of the review, you'll find highlights or tidbits that don't give away any plot points that merely serve as an enticement to see the film.

This can detract from the pacing at some points, especially since the film tends to intercut between the revelations of Harry's past, and his friends» efforts to destroy the items which, by comparison, seem far less integral to the plot.

In terms of the broad concept, specific plot points and some characters, the film has close similarities to Let Me Hear You Whisper, which was aired as a TV production nearly 50 years ago.

At this point we pretty much know the basics of the film's plot — there will of course be some surprises — but let's get official before I start breaking hearts with the synopsis:

These more - for - more genre epics try to fill every corner with hundreds of creatures (this film contains over 600 various alien monsters) to the point where is stupefies whatever plot they are selling.

Because of the way the plot is structured, a blow - out is unavoidable, and it occurs at the South by Southwest festival in Austin, Texas (weirdly graduated into a film's pivot point), where Jon's eagerness to sell out in front of cute, slack - mouthed publicists and Frank's paralysing awkwardness both lead to disaster.

Instead of serving chills and thrills, the film pounds us with an explanation that grows more convoluted with each plot point.

This film starts off simple and sweet, but completely falls apart in a random mess of bad acting and stupid plot points.

Each of these is a given, to the point that these events, the most significant from a perspective of pure plot to transpire in the film, all happen offscreen.

Both offer better writing and performances, as well as bigger budgets, but through the addition of scratches to the film print and the use of missing reels during key plot points, the experience has been replicated as best as possible without alienating the mainstream crowd.

The result is a stylistic and colorful film (using modern music set to the old time theme, and a frustrating jump in time that often skips over major plot points in favor of lining up the next musical number.

(It's true that the film has more than its fair amount of exposition, and tangled plot points that left me saying, «What?»

Naked is a very inconsistent film with dumb plot points and an incredibly predictable conclusion, which sort of takes away from the comedy that does work, but I'm not going to be too picky about a film like this.

The plot serves to deliver the main point of the film: the exceptionally visceral action sequences.

I like that feeling when I finish certain Grant Morrison comics; I don't like the feeling when I finish a crazy - looking film that I want more out of than flashy visuals and a mix of horrific plot points.

The film itself is nothing new, and the plot very predictable, but all the same it worked for me, and I must confess I had to hold back tears at a couple of points (something which hasn't happened since In America — I dare you to keep your tear ducts dry in that film).

You see I want to talk about the film's structure, how its episodic and unfocused storyline actually points toward its origins as a manga, and how while having little in the way of actual plot the film uses metaphor and subplot as text rather than subtext.

Various comments from directors of Marvel movies, characters rumors, and plot points set up in more than a few films, all seem to point to the MCU being totally different after Infinity War.

The film hints that Zoey's parents do not approve of this relationship, but unsurprisingly this plot point concerning it goes nowhere.

There is no reintroduction of characters or plot points, which will be disorienting for audiences who have forgotten any part of the previous film.

The new God of War PS4 game also contains a nod to the film — but do note that it sort of spoils a plot point.

The adventures of reluctant heroine Tris Prior (Shailene Woodley) continue in The Divergent Series: Insurgent, a film that seems to rehash a lot of the plot points from the prior film, Divergent, but with daunting task of keeping audiences interested enough to get to next year's (and the year after that's) grand finale Allegiant: Part 1 and 2.

A breakthrough film for several young Asian performers, the problems with Better Luck Tomorrow begin and end with the passivity of protagonist Ben (Parry Shen), who, when asked to provide the violent plot point that propels the film to its conclusion, breaks out of character so mortally the film never recovers.

It got to a point where star Corey Stoll admitted that his character, villain Darren Cross who becomes the Yellowjacket, had different motivations and levels of plot knowledge in various versions of the film.

That being said this film took a while to get me on the hook, the first twenty — thirty minutes felt very disjointed and unsure of the direction it was going in, but once we reached that point that instigates the revenge plot that we're waiting for the film kicks into high gear and becomes the bone crunching - ly revenge film that we expect from this trilogy of films.

It almost entirely duplicates the same dramatic notes and plot points of the first «Star Wars» film for both good and bad effect.

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.

Talking too much about the plot of Cabin is cheating the film, where its mysteries and secrets are integral plot points to the greater picture.

If critics have a function anymore besides carving their own gravestones on the marble of modern cinema, it's to point a finger at films like Junebug, which sounds like a thousand other pictures but is actually something all its own: a Southern Gothic in the tradition of Flannery O'Connor that treats its characters as more than plot - movers or cardboard caricatures.

Stupid scientists played by Noomi Rapace, Logan Marshall Green, Rafe Spall and more are the source of most of the mind - numbing plot points, and not even a performance from Michael Fassbender as the android David does much to save the film.

Fortunately, a tart sense of irony and a second act plot point spins the film's emotional trajectory into an entirely different place, setting the stage for a conclusion that more than rewards our attention.