Sentences with phrase «story out of the premise»

Again, this is largely because Shyamalan keeps his set - pieces confined and is forced to slow everything down to get a feature's worth of story out of the premise.

Not exact matches

There are more stories out of the bible that have been proven impossible and or wrong by science than have been shown to have any credibility... Of course I'm talking about actual science... not that christian science and creation «science»... which use scientific sounding things and jump to ridiculous unjustifyable conlusions, or that create incorrect premises and then make up answers to suit the questionof the bible that have been proven impossible and or wrong by science than have been shown to have any credibility... Of course I'm talking about actual science... not that christian science and creation «science»... which use scientific sounding things and jump to ridiculous unjustifyable conlusions, or that create incorrect premises and then make up answers to suit the questionOf course I'm talking about actual science... not that christian science and creation «science»... which use scientific sounding things and jump to ridiculous unjustifyable conlusions, or that create incorrect premises and then make up answers to suit the questions.

Lot's of mysteries out there... but I find working with the simplest, most consistent premises works better than making up random stories which have contributed nothing to the growth of knowledge or technology.

The writers actually did an admirable job of creating a story out of the game's premise.

There are elements of the story that push the believability of Andrew's obsession a little too far, but overall, how Chazelle is able to craft a psychological thriller out of this simple, off - beat premise, is one of the best cinematic accomplishments of the year.

At least part of the credit belongs to screenwriter Diablo Cody, who seems to have set out to write a greatest - hits Jonathan Demme movie — complete with full - length live musical numbers, kitsch décor, and a wedding — while taking another go at the basic premise of her script for Young Adult: the story of a nobody returning to nowhere.

You'd think that co-writers Chris Morgan (the «Fast & Furious» franchise) and Hossein Amini («Drive») could squeeze a little fun out of the premise, but it's an incredibly somber affair that takes things far too seriously considering the fantasy elements involved in the story.

I already knew the general premise of the story — mother of a murdered daughter is fed up with no progress in finding the killer and rents out three billboards to point out the fact that police haven't done anything.

Disney's attempt to capitalize on the sci - fi trend, especially on the rampant popularity of Star Wars, doesn't quite pan out, despite the intriguing story premise.

While the story doesn't have any twists or turns worth writing home about, the style it possesses is one - of - a-kind and gives the game solid character to flesh out the package around the core gameplay premise.

In the hands of del Toro, the strangest of premises is transformed into one of the most consistently beautiful love stories to have played out on the big screen in years — and it's largely down to the strong sense of innocence and humanity that stops it from playing out like an interspecies freak show.

There's no gangster counterpart to Ja - sung's cop in this story, but Park still wrings plenty of suspense out of the premise.

That's the basic premise of directors Chris and Paul Weitz's raunch fest American Pie, a sweet coming of age story wrapped in the same hilarious gross out comedy of There's Something About Mary.

And indeed, this prequel / sequel hybrid doesn't quite make sense, muddling its premise by straining to keep Snow White herself out of the story (she's always just off screen) while spinning a tale that feels so derivative that we feel like we've seen it all before.

The premise is a fish - out - of - water story about a middle - aged woman who re-enrolls in college to finish her final year and finally earn her degree.

The premise of the story revolves around United Nations employee Gerry Lane (Brad Pitt), who travels the world trying to stop the zombie infection that is crushing armies and governments, not to mention threatening to completely wipe out humanity.

The story plays out more like The Incredibles than an episode of «The Proud Family,» but as it stays true to the characters, it doesn't feel entirely out of place and the quirky premise seems excusable.

Danish director Isabella Eklof's feature - length debut stands out in Sundance's international narrative competition for its seductive premise — the story of a drug lord's girlfriend, and an ensuing love triage set against the backdrop of a port side along the Turkish Riviera.

But after introducing that creative premise the story sort of peters out of original ideas.

He uses still shots of street life as the visual connective tissue between capturing meetings held by various minority groups: Columbians celebrating a World Cup victory and then taking their party to the pavement; a mature LGBT community circle discussing the venue for future meetings; a Halal butcher blessing chickens prior to slicing their throats and having their still - twiching bodies dragged through various grubby processing machines; a group of Hispanic activists gathering stories of small business being forced out of their premises due to unfair rent hikes; and even a group of Christian urban beautifiers who are seen descending into intense prayer when one of their number explains that her father is dying.

For example it drives me absolutely loopy in the fourth Harry Potter book that the whole story is built on the premise of a contest that Harry is entered into and has to win in order to get into the center of a maze in order to be teleported out of the school grounds to face Voldemort - when there were countless easier ways that he could have been whisked from the premises by Voldemort's right hand man disguised as a trusted teacher!

Born out of a conversation between two skilled writers, the anthology required four writers to begin a story with the same premise: a promise of raising a town's people from the dead, for a price.

Naturally players are still required to survive for as long as possible against the waves of undead, and there are objectives in place that tell a short story for those interested, but the overall premise of a near standalone level experience is still much the same as recent Zombie outings.

The story of Forces held a promising premise, but it shows one of its weaknesses right out of the gate: its storytelling.

For those of you may have paid attention to the games story (I thought the premise was laid out in the title) you continue taking the role of the new war mage, but now your mighty order has been destroyed.

Josef Fares returns with A Way Out, an exclusively co-op experience, based around the simple premise of a revenge story, in which you have to work closely with your new found partner to escape the clutches of the law, and beyond.

The story begins with your character moving to the town of Portia to inherit your father's decrepit old workshop in the hopes of restoring it to its former glory, it's a simple premise that is short and sweet, quickly moving out of the players way to allow them to create their own narrative.

The story's premise and tutorial battles all happen rather quickly, which I enjoy from these types of games because I want to get right out into the action.