Sentences with phrase «style over substance as»

It's had its critics with many claiming style over substance as a major issue.

Not exact matches

Among the high - profile changes was a decision to have Peter Mansbridge stand up while presenting The National, which was derided as a triumph of style over substance.

Dismissing David Cameron's Conservative party manifesto as one «of style over substance», Lib Dem leader Nick Clegg said he was determined to offer «something different» to the British people.

Gordon Brown could help Labour rediscover its passion, he indicated, describing the chancellor as the antithesis of David Cameron's style over substance.

As it stands, you're looking at a massive amount of style over not a great deal of substance.

It serves as a great example of substance over style, but Downwell is perhaps just too one - dimensional to offer the same degree of longevity that other similar titles may offer.

Part of me wants to dismiss «The Matrix» as a loud and empty spectacle, 1999's apex of dazzling technological style over substance.

Originally envisioned as the third installment of the Demons franchise, The Church instead earned acclaim as an atmospheric exercise in meditative religious apocalyptic paranoia despite being criticized by some as another case of style over substance (a criticism frequently made of his mentors).

As in Planet Terror, Rodriguez emphasizes style over substance, but the sheer audacity of his vision — the energy, the inventiveness, the extremes to which he's willing to take his gruesome sight gags — is his salvation.

As evidenced by our episode on Sucker Punch, I have an ambivalent relationship with Zack Snyder; I'm usually more forgiving than others (I love Dawn of the Dead, for example, and I greatly enjoy Watchmen still), but accusations of Snyder's emphasis on style over substance is a common criticism levied toward him.

As you said, style over substance.

Director Guy Ritchie has made a name for himself by employing a major over-dosage of style over substance in films such as Snatch and Lock, Stock, and Two Smoking Barrels; something that oozes out of every scene in The Man From U.N.C.L.E

Equally indebted to Martin Scorsese, Guy Ritchie, and Giorgio Armani, London Boulevard represents the apotheosis of style over substance, the kind of gangster flick where the cut of a killer's suit is as important as the motive for his crime.

This style over substance critique is nothing new in the film world, nor is it restricted to this particular genre, as Chen hints at in the last sentence above.

Del Toro seems to view plot and character development as simply a clothesline on which to hang a series of brain - searing images, and while that's not necessarily a bad thing (plenty of great directors have been stylists above all else), it means he keeps getting undermined by his scripts» odd tendency to never give him free rein to indulge in style over substance.

Worst - case scenario: Much of the early buzz surrounding The Hateful Eight focuses on its cinematography, and with the extensive re-writes that have occurred since the first draft of the script leaked online last year, The Hateful Eight could end up as an unfocused example of style over substance.

Style definitely wins over substance in Panic Room, and it's difficult to imagine the film being as enjoyable an entertainment if that were not the case.

Every Refn film can be described as style over substance.

I think it gets tiresome to refer to certain movies as triumphs of style over substance, but that cliché truly applies to 300.

Without question, Bay's films are victories of style over substance, but that's not always a bad thing, especially when the style is as fun as The Rock.

Argento's stuff arguably favours style over too much substance, and if that's so, it's never made as much sense as it does here.

Like any coming - of - age teen soap opera, much of the film's appeal is in its vaunting of style over substance — coining whole ways of speaking, dressing and posturing for an impressionable generation brought up on Hollywood tropes — but Heathers embraces its style as an essential keystone to filmmaking, recognizing that even the most bloated melodrama can be sold through a well - manicured image.

This is not an easy film to watch, and there's a part of me that wants to write the entire damn thing off as an exercise in style over substance.

The plot is incoherent as Leitch (a former stunt coordinator turned feature director) once again values style significantly over substance.

Here's hoping Ready at Dawn learn how to construct a proper next - gen experience because as it stands, the Order: 1886 remains the strongest case this generation for style over substance in every sense of the term.

As much as I love the old Dante, he was mostly style over substancAs much as I love the old Dante, he was mostly style over substancas I love the old Dante, he was mostly style over substance.

It's definitely a game that reeks of style over substance, even though there are areas that are very well done, such as animations, the soundtrack, and some excellent voice acting also.

But it's just as well if it's the latter, because it reveals the underlying nature of all of Everley's arguments about cap and trade — it's all style over substance.

As you know if you have read my blogs before, I am a major proponent of style over substance.