Sentences with phrase «plotting of the story between»

It's a spectacular piece of work, from director James Cameron's plotting of the story between past and present (though not his direction of Billy Zane) to the stunning execution of the ship's slow descent into the frigid waters of the Atlantic Ocean.

Not exact matches

Our lives and our nation's lives transcend the present moment, to make genuine stories plotted between future, past, and present, because there is the biblical God - which Augustine of all people should have known.

The plot that tracks the connection between Christ and Eros in congregational story will be one that reflects not Niebuhr's «Christ against culture» category but his four other types of interaction between the two powers in human life.

Laden with lazy writing that drags out clichéd phrase after clichéd phrase — seriously, the line «you don't write, you don't call...» should be permanently retired from screenplays, especially if it's delivered between characters who hate each other — the story kind of plods along, checking off plots points from a list.

Ritter is so charismatic, and so good at toggling between sarcasm and outright pain, that a lot of this is more watchable than it should be, given the glacial pace at which the plot moves and the amount of time spent on lesser characters and filler stories.

The dual - track plot, with constant cutting between mother and daughter, seems less an attempt to establish meaningful parallels between the two stories than the nervous twitches of a compulsive channel changer.

Director: Xavier Dolan Cast: Melvil Poupaud, Suzanne Clément, Nathalie Baye Running Time: 168 mins Plot: The story of the romantic relationship between Laurence (Poupaud) and Fred (Clément)...

Language: English Genre: Drama / Biography MPAA rating: PG - 13 Director: Peter Glenville Actors: Peter O'Toole, Richard Burton, John Gielgud Plot: Based on the historical clash between Henry II and Thomas Beckett, Archbishop of Canterbury, this story shows how badly nepotism can actually go when one can't fire an appointee.

It is a love story between two voiceless creatures and a story of overlooked, second - class citizens who plot and succeed in an uprising.

Language: English Genre: Crime / Action MPAA rating: R Director: Robert Rodriguez Actors: Clive Owen, Mickey Rourke, Jessica Alba Plot: Four stories that interweave between each other told through the voices of characters involved.

Although this basic plot approximates L'avventura's abrupt aquatic disappearance and subsequent metaphysical search (including creepy infidelity), the contrast between staid, stable Gregor and Bohemian Pietschi is very German — see any number of Thomas Mann stories or novels — and recalls the hesitation about the country's direction foregrounded above.

The main relationship on the show — and the impetus for many of the show's plots — has always been the one between Will McAvoy (Jeff Daniels), the smug Republican anchor of a nightly news broadcast and MacKenzie (Emily Mortimer), the show's executive producer, who — rightly or wrongly — never lets go of a news story that she believes is important to our national debate.

Screenwriters Michael Robert Johnson, Anthony Peckham, and Simon Kinberg whittle the Holmes character down to the basics, reasonably expand him using some of Doyle's background information to give him a slight action hero edge, develop a pretty crackerjack story involving the occult and a plan to recreate the Gunpowder Plot using a Victorian - style chemical weapon, and read between the lines of the Holmes / Watson dynamic enough to make us read further between the lines.

When François Truffaut asked Alfred Hitchcock to discern the difference between his two attempts at this story about a vacationing family that gets wrapped up in an elaborate murder plot, Hitchcock famously said: «Let's say the first version is the work of a talented amateur and the second was made by a professional.»

Stage - bound and tenuously plotted, The Post is one of Spielberg's less dramatically involving mediations on moral values and legal fine print; despite some astute observations on the sometimes toxically cozy relationship between the media and the politicans they cover, it struggles to find a center to its story.

The Boss Baby's story never really adds up to much — it's a surprisingly thin plot that lacks enough complexity to make you care about what initially seems to be its central «mystery»: the source of the rivalry between Baby Co. and Puppy Co..

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).

The machinations of the plot are loud and fairly clumsy, with unanswered questions and conveniences that serve the screenwriter but not the story (the growing romance between Neale and Carla feels particularly strained, despite good performances by both Milland and Reynolds), yet Lang molds it into something that is consistently entertaining and at times genuinely enthralling.

The story, revolving around the illicit, ongoing romance between British soldier Tristan (James Franco) and Irish Princess Isolde (Sophia Myles), doesn't have a lot to offer in terms of complexity; Dean Georgaris» screenplay generally utilizes melodramatic and predictable plot twists to propel the story forward.

We don't object to spelling out the entire plot of the Hundred Foot Journey (so called for the distance between the two rival restaurants) because it's a story we've seen a hundred times before in a hundred feel - good comedy dramas.

Like its central characters, at least Cave and Hillcoat are straightforward about their intentions (apart from the awkward placement of its female characters, who are mostly forgotten whenever they aren't necessary to the plot), and the story unfolds in a flurry of pummelings, shootings, and stabbings that punctuate the battle of wills between men with few moral qualms (One particularly gruesome episode really puts a character's legend to the test).

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.

Thankfully, the love story is not the driving force of the movie (more of a plot device) unlike so many other movies (e.g., «Titanic» where telling the story of the sinking ship served as the backdrop for the love story between the two main characters).

This is an incredibly busy film, with a three - way narrative that follows the plot of Tolkien's book, begins the process of revealing the central villain that will put all of Middle - earth in jeopardy, and, for some reason, inserts a romantic triangle between an ancillary character, a character from the previous films who has no role in the actual story, and another who is the creation of the screenwriters.

While the story feels like it is a typical anime plot, the dialogue, character banter between the main cast and the witty but often light nature of the game is what elevates it to a special experience.

Foreshadowing future characters, plot points, and ideas can help students think about the trajectory of the story and find connections between concepts.

Instead, Nail Your Story attempts to reveal the connections between the various parts of a story so that you can more easily build cohesive plots, characters, themes, and settings - without having to stress over the decisions, because (surprStory attempts to reveal the connections between the various parts of a story so that you can more easily build cohesive plots, characters, themes, and settings - without having to stress over the decisions, because (surprstory so that you can more easily build cohesive plots, characters, themes, and settings - without having to stress over the decisions, because (surprise!)

Peter Bognanni's The House of Tomorrow is a fresh and creative novel that I truly enjoyed reading... The plot of the story isn't particularly fast - paced or driving, and at times it feels slow, but [the novel] is more about the rich conversations people have while practicing musical instruments together, how sharing CDs can be a window into someone's soul and how shared situations create a deep bond between people even if they don't always treat each other right, just like Sid and Nancy.

Russell begins each chapter with a quote from the famed epic, which creates parallels between the two stories» focus on the plight of the hero, and she is also able to foreshadow some of her plot.

My only complaint is that about two - thirds of the way through, the story loses track of the bomb threat plot for a while, focusing instead on the complicated relationship between the three central characters, Thanial, Grace and Mori.

Out now from Viz is volume 7 of Dogs: Bullets & Carnage, a manga that sadly tries so hard to be stylistic that its blend between Bleach and Tenjo Tenge falls flat on its face, sacrificing story for combat poses, leaving the reader scratching their head wondering what's going on, forcing them to Google search for the plot.

Last week, a 10 - year - old in one of the creative writing workshops I teach outlined the plot for his next story to me: A war breaks out between Glue and Tape to determine which is the best adhesive.

I also think they are right to try to establish a threshold or standard for what constitutes «professional,» because there is indeed a wide range between self - published authors who write well and produce well - edited, well - formatted books and those who, frankly, have little grasp of the fundamentals of writing — basic grammar, punctuation, and syntax as well as plot, characterization, voice, and the other aspects of writing that can make or break a story.

Hatoful Boyfriend: Kind of reminded me of Deadly Premonition with the way that lot of the bizarre story elements that seemed like they were weird just for the sake of being weird actually came together in the end — except without all the legitimately - awful gameplay segments in between the inexplicably - entertaining bits of plot.

Those who had their hopes pegged on this particular entry being a continuation of the story in Ultimate Ninja Storm 3 will be disappointed that this is an «in - between» game in the vein of Generations, telling side tales rather than advancing major plot points.

This Komplete Edition has a story mode that spans the plots of the first three games, told between bouts in weirdly compressed cutscenes, the grainy video of which betray the Kollection's console roots: it came out on 360 and PS3 in 2011.

Unlike the pseudo-futuristic approach in Final Fantasy X, this game took the story and plot into a more classic / medieval - like setting with the land of Ivalice and the war of between Archadia and Rozarria.

Instead of choosing one character and working your way through their story (and dealing with repeat dialogue from intersecting storylines), the story is a large, branching plot that regularly switches perspectives between characters, opening up more paths as you continue.

Each of the game's episodes transitions between the storylines of the lead and side characters, and uses flashbacks to fill in the back story and toss in some plot twists as well.

Between the class and expansion stories, I had no shortage of plot to keep me engaged, even as I largely ignored the multiplayer and endgame content.

The third - person reboot of the God of War series received a decent chunk of stage time, with an extended look at the relationship dynamic between Kratos and his son, something that will hopefully elevate God of War's story above the simple revenge plot the series usually sticks to.

It includes a slew of VR missions with a total of six playable characters, as well as the Snake Tales side story, which allows the plot between the Tanker Chapter and the Big Shell Chapter to be filled in.

Although the story mode in Injustice 2 functions as little more than a gauntlet of brawls between set characters, the unifying plot is remarkably well - written and serves each character that appears.