Sentences with phrase «plot points really»

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

I love her as an actress and she deserves to be a double winner - but, same with her character - her plot point really had you suspending reality.

Not exact matches

They have had the extraordinary concern for why others are breaking the Sabbath law, but when they are shown that they are not really concerned about the actual law or the actual spirit of that set of laws, they do not admit they are wrong: they plot to «destroy» the one who has pointed this out to them, and to everyone.

To postmodern critics, such concerns suggest that life has a «plot,» as in a well - crafted novel, but of course what they are really pointing out is that such issues have no meaning in the absence of a transcendent grounding.

I pointed out to the beleaguered - sounding commander who phoned me after I raised the phone hacking issue at prime minister's questions that plots to conduct covert surveillance on sitting prime ministers were the sort of thing you'd see in movies, and that most people would think a «rigorous assessment process» wasn't really required when deciding to investigate.

The idea of matter escaping the alleged point - of - no - return was surprising (it's a central plot point in that other recent movie about black holes, the biographical The Theory of Everything), but the fate of information that falls into the black hole was what really troubled Hawking's colleagues.

«This is a really troubling paper from my point of view,» says Stuart Davies, director of the Smithsonian Tropical Research Institute's Forest Global Earth Observatory in Panama City, which maintains a network of 61 plot studies in 24 countries.

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.

Back to the Future really painted a nice plot that filled itself in at every point.

Consequently, the early episodes lag until enough plot points have gone by that the intrigue starts to really payoff, yet it's hard to really connect with any of the characters (Except maybe Joan, who Ross gives a great deal of depth to as the episodes wear on).

That's the way it is with «The Matrix» — you either give away major plot points or you can't really talk about it at all.

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 challenges.

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.

The plot never works, the jokes are too stale to really get a laugh above the age of fifteen, and the action sequences drag on to the point of redundancy.

If you've played the previous flash games, you'll notice some familiar plot points and characters, but not much of that really matters.

First the dagger only turns back time for a few minutes so you really never get a sense of what the point is — until the big plot reveals itself in the last part of the movie.

Those later elements are really the only thing that sets this apart from the countless other cop - tracks - down - a-killer movies out there, because for all its clichéd plot points and stock characters, it's obvious screenwriters Robert Fyvolent, Mark R. Brinker, and Allison Burnett are more concerned about coming up with graphic death scenes than anything else.

A terrible tragedy occurs towards the end of Act I — something that, in screenwriting terms is called a «plot point» or «inciting incident» — and all I could think was, «Really?

So faithful, in fact, that The Grudge is completely free of those tedious drags character development, tension, scenario, narrative, plot, intelligence, point, sociological relevance, technical aptitude, and scares, really, since it leaves «pacing» somewhere back where the rest of that stuff was jettisoned.

Likewise, the Dracula character is granted a various array of powers and abilities that are all too convenient for the accompanying plot point and never really explained.

Around this point, the plot becomes convoluted to the point that one really needs a flow chart to determine what cause resulted in what effect and where characters» loyalties really are.

Gorgeously shot and brilliantly handled, «Arrival» underscores a few too many plot points too strongly, but it's still is surprising piece that really gets to the heart of what it means to connect to strangers and find the ties that bind.

The existential parts of the plot, while interesting, seem forced and unsatisfying, it just never reaches that point where the film really drives home an interesting, original concept.

But the shot that stuck out to me was both an interesting (and heartbreaking) plot point and the moment that really snapped me to the attention deservingly paid to Serra's photography.

(laughs)[Except for one] large plot point, they stay true to the book, so there's a lot of those sequences, and it really motors along.

Given the picture's enduring popularity, there's really no point in rehashing the plot — OK, for the uninitiated (all two of you): Ripley (series star Sigourney Weaver) heads back into space and leads a team of military grunts against the nasty extra-terrestrials — but there's always room to rehash many of the highlights: Weaver's terrific performance in the central role; the contrast between the heroic Corporal Hicks (Michael Biehn) and the cowardly Private Hudson (Bill Paxton); the escalating villainy of company man Burke (Paul Reiser); scripter Cameron's ability to keep piling on confrontations and director Cameron's ability to milk them for maximum tension; and, of course, those wonderful alien creations.

The third is a bit of a slip in the wrong direction, but the characters really don't matter in this installment, which moves from one plot point to the next, stopping only for exposition, a random bit of usually unsuccessful humor here and there, and revisiting old memories before the gang's climactic return to Vegas.

But we really do not need a remake of American Werewolf, and the fact that Landis thinks «little happens» in the original film makes me nervous that he's adding a whole bunch of new, unnecessary plot points to his remake.

After stopping himself from spoiling a plot point, he realizes that first - time viewers are probably not listening to him — and assesses those who are to be «really strange!»

The world of Surrogates is barebones, only examined far enough to get the plot from point A to point B. It's a shame, really, as the world Surrogates creates is fascinating on a conceptual level.

Plot points were rushed, and I never got to really care about the characters.

This is the point at which the movie really kicks into gear, so I will leave further plot points for you to see for yourself in the movie.

And while the plot about kings and noblemen socking it to the middle class and poor with higher taxes resonates today — for tea party loyalists, this «Robin Hood» could become a rallying point like «Fahrenheit 9/11» was for Iraq war protesters — the screenplay never really knows what it wants to say about it.

I suppose that's really the point - this isn't a book to read for the plot so much as for the thoughts that it generates; as John Leonard writing in the New York Times so eloquently puts it, «Cynthia Ozick braids at least three and probably four ghostly glimmers and «phantom eels» of thought into a single luminous lariat — or maybe a hangman's noose.»

This felt like it had a lot of detail — as we got lots of backstory about Sandra as well as forward movement of the plot, but it really felt like the author didn't really know where the end point was.

I mean if you're stuck, really stuck, on a scene or plot point and have been for a while, it may be that one of your characters just -LSB-...]

I've seen art breakdowns, a couple of interviews from the writers, even a couple of really interesting experts consulting on plot points like the United Nations address or what a tsunami would really do to Wakanda, but again, nothing to keep me hooked in.

The story is said to be really deep and involving as it twists and turns through time; intersecting plot points where you see yourself or witness the setup to an event from a prior time jump will play heavily.

I won't really bother with spoiling it since the item is giving at a major plot point during the game so once you have it in hand, you will need to go back and attempt the hidden chambers that are scattered throughout the game.

Or at least, not always to the extent that the fans and myself would have perhaps liked, and yet this shouldn't be taken out of context, because Mass Effect's concept of choice has always been largely an illusion: no matter what you chose to do you never really altered the stories major plot points that much.

There's also a really cheesy plot point further in the game.

I do understand why people would be interested in what someone on the spectrum thinks of a game with autism as a central plot point, but really, all the worst parts of To the Moon have nothing to do with it.

Technōs wasn't really involved with any of them, but there seems to have been some information flow in whatever direction — the Marvel comic book tie - in first introduced Marian as an undercover cop who was captured by the gang she was infiltrating — a plot point later found on the box of Return of Double Dragon.

I'm not convinced a global time window works: I suspect you really want an adaptive time window per point in the plot, otherwise you pick up the background to a different extent depending on location — but then there's the question of how to pick out the proper time windows.

Yeah the resolution is really low because all I did was capture Easterbrook's graph and use photoshop to clone the entire thing over by 50 years so it correctly ended at 1855, and then I added the modern part by plotting about 30 data points from GRIP, and then played connect the dots with photoshop.

I pointed out the Russian model (INM - CM4) on Christy's plot back in May 2015 in my paper entitled: «Can Mankind Really Expect To Tame Earth's Climate And Remove It From Cosmic Control?»

A plot of the distribution of model points at 1990, 2000 and 2010 would be really nice; I would expect the distribution to change, being less skewed in 2010 than in the previous «fitted» decades.