Sentences with phrase «problem film plot»

One of the best reviewed films of the year (it placed fourth in our our survey), Haynes excels in the smallest moments, the tactile particulars of period wardrobe, the longing in a look, the flashes of light across a window, charged details that accumulate an emotional power that pushes the film far beyond its sketchy social problem film plot toward a devastatingly romantic transcendence.

Not exact matches

I think the problem is that the film arrived before local industries set their rules on this, says the helmer about South Korean exhibitors demanding Teen film is a film genre targeted at teenagers and young adults in which the plot is based upon the special interests of teenagers and young adults, such

But there are problems in Wakanda, not all stemming from the film's few white characters: CIA man Everett Ross (Martin Freeman) blunders into Wakandan power politics, and white South African career criminal Ulysses Klaue (Andy Serkis) plots to steal their vibranium.

The film still suffers from a muddy narrative and dour outlook, but this extended version corrects a number of problems with plotting and expands the DC Comics universe with better character development and world building.

I understand that this is a film that loves music (and I can see that), but, one problem I have with some films is the crime they commit of taking a plot that has been used over and over again and just rehashes it without adding anything new.

However, the biggest problem lies in the poor execution of the plot and highly unimaginative film making.

Most of this problem is chalked up to the lazy plotting, and even lazier meta - humor the film tries to inject into its efforts.

The film has its problems, including a slow middle where it tries - unsuccessfully - to suddenly recap plot points and resolve character motivations from the first three Craig films.

The bewildering dearth of sea monsters is the least of the film's problems, bogged down by a boring plot, cheesy jokes and an incredibly annoying new character that's crammed down the audience's throat.

Whether the film would work with a straightforward timeline is uncertain, but Muccino's decision works in the film's favour — by encouraging a guessing game it conceals the problems of its plot in a sleight of hand magic trick.

This is very much a character - driven piece, rather than plot - driven (though there are some dramatic plot twists) and the problem with this film is that the characters are simply unlikeable.

That connection between Isaac and Portman's characters is a crucial plot point in the film, but in practice, it's half - compelling and half - restraining, simply because marital problems are so much more familiar and banal than everything else going on.

The main problem with this film is that they are simply so banal and nondescript that it's hard to focus on the plot.

Not that Edwards» film fails because it's short on plot — there's certainly much bigger problems to address.

The problems with Hemsworth and Casey's characters are emblematic of Ghostbusters» greater sins; whenever the film focuses on the innate charm and charisma of its leading ladies, it is often wildly entertaining, but when the plot rears its ugly head, everything falls apart.

One of the big problems of the film lies in the opening credit sequence, where several plot elements are introduced without explanation, and then never answered.

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.

Consenting Adults is a tawdry and not - too - clever thriller that has one critical problem with the plot that unfortunately I can't reveal much of without going into major spoilers (can a film this rotten actually be spoiled?).

The problem with films that rely on plot - twists is that the audience is already second - guessing everything they see, trying to work out the surprise ending before its properly revealed.

The quasi-Biblical (or Greek) plot follows two brothers who are like night and day, Dave (Jeroen Perceval who wrote the play the film is based on) is a kind soul who works in a carwash and is trying to set up a home with his girlfriend Sylvie (Veerle Baetens), the problem is she was his brother Kenneth's (Kevin Janssens) girl before he went away to prison.

Voice acting is adequate without having any standouts, and the aforementioned problems with plot and direction curse this film to the bee - list at best.

Perhaps the film needn't have encroached close to the three - hour mark to tell its tale, as side characters played by Cuba Gooding Jr (Daddy Day Camp, Norbit), who portrays «Mr. Untouchable» Nicky Barnes, and Kevin Corrigan (Superbad, The Dog Problem) feel more like pit stops for character contrast than crucial characters to push the plot forward.

The problem is that Johnson doesn't stick with his own formula and allows the film to convolute itself into an anti-climactic melange of plot hoops and hurtles that are meant to be clever, but by the limping third act, end up robbing the film of the magic it was oh - so close to conjuring.

The problem is exacerbated by the fact that he keeps dropping out of the story completely for long periods of time, only to be awkwardly shunted back into the plot while the film nervously assures us that he really is relevant to this story, and on top of that, there's also an incredibly forced and out - of - place romantic subplot which the film really would have been much better without.

The overall plot is too disjointed and too long, which was a problem for other Prohibition - era films such as 2012's Lawless.

**** Zachary F November 29, 2012 this movie is sooo funny Jon C November 29, 2012 a fun, crude, and hilarious comedy two girl roomates formulate a plan to make their own sex hotline in order to make ends meet hijinks and raw laughs ensue between two very different people who embrace their sexuality via telephone the performances from both Graynor and Miller are pretty damn fun to watch the dialogue is insanely funny and gratuitous there's a very strange cameo in here too by Nia Vardalos Justin Long adds a nice touch being the supporting gay best friend mentoring these two girls it's just very awkwardly humorous listening to these people talk in this kind of film, there's interestingly no actual sex happening on screen, no boobs, no ass, no exposed body parts the plot mainly focuses on the bonding relationship bewteen the two leads which is a good break from the usual norm we're used to I can't help but feel though that the filmmakers didn't have anything left at the end, some of it felt unfinished and unresolved for all those problems, «For A Good Time, Call..»

The problem with the film isn't in its placement in the realm of science fiction films as much as its placement in the real world, where the plot necessitates a triple - jump for every leap in logic to get us from point A to Z. For instance, the film pushes forward the notion that scientists don't give any thought or research whatsoever to the ramifications of their inventions before unleashing them on the world at large.

As you can see the plot for Nima Nourizadeh's film is threadbare to put it lightly, and that is the first of its problems.

He kept it up until the end of the film and so did the script (for the most part — when it had problems again, they were of the predictable plotting variety).

While it's not on the level of «bomb» (or «After Earth») as I was fearing, «Focus» is completely underwhelming, with an average plot that is rarely unpredictable, a big problem for a film about con artists.

The problem with Harry Potter 4 is that it's free of subtext for the most part, content to worry itself with sappy love plots punctuated now and then by special effects set - pieces that revert to the first film's tendency to stop the action to allow the cast and the audience to gape, slack - jawed, at the spectacle.

To my dismay, what didn't work in the last film also is the problem with this third installment: the characters are wafer - thin eccentrics, the plot meanders, and the situations remain unmoving.

Ah, the eternal problem of the spoiler warning... You never want to give away too much plot in a film review — but then, plot isn't always the biggest thing that you would ideally want to keep fresh for the viewer.

Based on Brian Selznick's children's novel, just like Martin Scorsese's Hugo, Wonderstruck suffers from the same problem as Scorsese's film: mainly, that it's based on a kid's book that's mostly pictures and therefore plotted around a central twist neither surprising nor instructive.

Another major problem is that the plot is way too similar to the first two films.

Though the writers strike caused problems, the film had script problems that should have been sorted out long before (this is a Bond film where the plot revolves around a utilities contract), and Forster's handling of the action was fairly poor, despite the presence of «Bourne» action supremo Dan Bradley as second - unit director.

The problem here is that the whole plot hinges on a twist that has been done several times in films in recent years (Fight Club most notably), including a similarly delusional Coen Brothers film about writer's block that also starred John Turturro (Barton Fink — probably the reason he was cast in this film).

Two of the bigger problems with the some of the previous films have been either A) the filmmakers» attempt to cram too much from the books into a too brief running time — Goblet of Fire — or B) the total exclusion of necessary plot points and scenes to fit said running time — Alfonso Cuaron's Prisoner of Azkaban.

But since the main problems of the film's plot have been solved, we're stuck fighting a loser squad instead of A-listers like the Lizard.

That problem extends into the film adaptation, a stripped - down, unemphatic version of the story that streamlines the book's plot and alters the ending, but nonetheless preserves many of its biggest faults.