Great dialogue can bring a story to whole new heights
while poor dialogue can ruin a good story.
I tried to pay close attention, but the plot is a mess of loose threads, acronyms and soap opera ridiculousness, with adequate voice acting at best, and
very poor dialogue at worst.
There are some good ideas here (the director also made the excellent Persepolis), but not nearly enough to contradict the bad taste left by the film's
staggeringly poor dialogue.
There's necromancers, dark forces and strange magic in abundance, thereby setting the stage for a fantasy plot that manages to hit most of the genre trope branches along the way, yet hidden within the clichés is actually some rather engaging twists and turns, albeit twists and turns hampered
by poor dialogue which results in stilted conversations and bouts of awkward exposition.
You can sort of see the twists coming, and as the game unravels, the bland characters and
poor dialogue only serve to damage the story even more.
Intriguing yet mundane, playing The Witch and the Hundred Knight 2 was like reading the synopsis of an exciting book, only to be disappointed
with poor dialogue and underdeveloped characters.
Poor dialogue, predictable scenes and even more predictable and useless characters in predictable situations.
Then you have the diabolical script that will no matter whether your a film fan have your cringing at
its poor dialogue and humour.
Despite
some poor dialogue, the film is a great addition to the monster movie genre.
Celebrated for its unmatched terribleness,
poor dialogue and the garbled, vaguely Eastern - European accent of its star, Wiseau, «The Room» has spawned countless «Rocky Horror» - style midnight screenings.
If you watch Dante's Peak, you'll be struck by lackluster acting, terribly written characters, and
poor dialogue.
I haven't even got around to condemning
the poor dialogue or the wasted sub-plots.
The women, however, acquit themselves less honorably, largely due to
the poor dialogue, co-written by Coppola and Jack Hill.
The Room is criticized endlessly for its poor acting,
poor dialogue, and go - nowhere plot lines.
is criticized endlessly for its poor acting,
poor dialogue, and go - nowhere plot lines.
Just as artificial is the blossoming of the wooden young lead into a mature person, with a series of useless repetitions, hilariously on - the - nose musical cues, and
poor dialogue that unfortunately never creates the intended sense of poetry, instead contributing to some of the most insultingly obvious signposting in recent memory.
The plot is rote and predictable, meandering along with a cast of serviceable but bland characters and
poor dialogue to boot.
These lengthy scenes in MGS2 are a relative smorgasbord of quality, sometimes offering tense, engrossing and tightly written sequences that deliver the often convoluted plot filled with backstabbing, betrayals and insanity in a fantastic way, but more often than not delivering nothing more than a half - hour of complete tedium and
poor dialogue.
The clumsy combat,
poor dialogue and technical limitations of the game sadly overshadow an otherwise intriguing plot set in a dark fantasy world filled with great ideas and concepts that are never realised.
It increases when you find something that progresses the investigation and decreases if you miss something important, take too long, or choose
a poor dialogue option.
With a game whose narrative is the spearhead of the whole project,
the poor dialogue and voice work really nulls and voids the effort put forth.
The poor dialogue, and uninspired character cutouts that you stare at for those long periods are uninspiring.
A predictable story full of unlikable characters and
poor dialogue.
The voice acting, while not as laughably bad as the original, isn't particularly noteworthy, though that may largely stem from
the poor dialogue.