It's easy to imagine a version of Sorkin's play - like three -
scene structure feeling too «start and stop» but Fassbender expertly throttles the film's momentum like Travis Pastrana jumping dirt mounds at the X Games.
Not exact matches
This lucid drama about the start of the current economical collapse is gripping, even if its
structure feels stagey: basically a lot of
scenes of people talking in offices.
Moreover, he handles the «Groundhog Day» transitions skillfully, injecting some humor and varying
scene structure so that the repetitive events don't
feel repetitive.
They never
feel gimmicky and it's interesting that the film's
structure is somewhat dictated by the limits of the medium (each
scene uses nearly an entire film reel).
The Apostles has some suspect writing at times and the story makes some logical leaps where it
feels like whole cut -
scenes are missing, but we get the same great gameplay mechanics of the base game while throwing in a
structured three - arc setup that introduces some interesting characters.
The handling of the BDSM sex play is dreadfully cliched in terms of
structure (3 heated romps and a final dramatic one); however, the actual presentation of the «love
scenes» recalls the style of director Adrian Lyne (Unfaithful, Nine 1/2 Weeks), favoring artsy close - ups of human form, curve and the intimate sensations of touch,
feel and response, rather than the raw carnality seen in something like Basic Instinct (my generation's landmark erotic thriller movie).
The magnificent cliffs, unique rock
structures, and hidden sea caves make you
feel like you're in a
scene straight out of Game of Thrones.
The Apostles has some suspect writing at times and the story makes some logical leaps where it
feels like whole cut -
scenes are missing, but we get the same great gameplay mechanics of the base game while throwing in a
structured three - arc setup that introduces some interesting characters.