Sentences with phrase «way more plot»

A beautifully observed piece of South Boston regionalism filled with tough talk and uneasy stare - downs, Gone Baby Gone eventually crams in way more plot than is necessary.

The official trailer for Zoolander 2 (or 2oolander, as it's known amongst those of us who aren't really, really, ridiculously good - looking) has arrived, with way more plot and action than the teaser, but minus the bumbling of that video's release.

Not exact matches

According to Gerwig, the only way to make an authentic movie about teenagers and not have them constantly interacting with mobile devices was simply to move the plot back in time to the pre-smartphone era when interaction had to be more face to face.

It's difficult to critique this in a spoiler - free way, but to use the example of A New Hope, while the Death Star was a looming, terrifying presence throughout, the big threat to our heroes in this film seems to appear quite late in the day, and seems more important as a plot device to bring key characters together than a genuinely gripping menace.

Taken seriously, the sanctification of such laborious or tedious work with the language of vocation would suggest that we should struggle to find more time for it, not plot ways to escape it.

Last year we decided to garden in a large community plot but had a lot of issues, tried to plant too many things, and spent way more than we had planned on coping with problems / drought / pests / neighbors etc..

SEE MORE: OPINION: Antonio Conte could be Jose Mourinho 2.0 for Chelsea — NOT in a good way Chelsea hoping to get Antonio Conte the best goalscorer in Italy Chelsea to consider # 71m offer for star man as they plot Antonio Conte era

See More New Liverpool signing talks Jurgen Klopp factor as he rejected two Premier League clubs Arsenal target subject of crucial talks as Premier League rivals plot way to keep star

Already with 15 games gone in the league, and having lost 4 of them, and more frustratingly, 6 draws as well, the Gunners lie in 10th position, and in urgent need of some impetus, freshness, direction, and more importantly points to plot a way towards the top reaches of the table.

We are converting a 5 - acre plot of land with a house into an off - grid homestead from scratch and trying to grow more while buying less (though we have a long long way to go).

Even so, all of the plot twists are handled in such a creative way that the resolution is satisfying enough that you will want to see more of this group.

I think a story with... I don't want to say «broader appeal» about a movie on its way to becoming the most successful ever, so let's say «more conventional plotting» could have been created for Infinity War if it had opened with Thanos already possession of 3 or 4 of the stones.

Fortunately, when it's revealed that previous platoons of soldiers and scientists have either been killed or kill each other, the setup grows more unnerving, which smartly fits with the sci - fi horror working its way through the plot.

To top that, the twist with her character makes it even more unbelievable because she gives up her entire career for this guy, I mean this could be a workable plot but you would need actors that gel way better.

The plot follows the usual disaster movie convention of morally courageous hero attempts to alert the public to danger, hampered by the interference of big business who are afraid of the damage to their profits, but it is done in a rather more serious - minded way; there is more science and less histrionics and special effects.

Yes, we need to introduce the proper plot — that of the three Ryan brothers, all killed in combat within the same week, and the directive from on high to track down the only remaining brother, Private James Francis Ryan (Matt Damon), and send him home — but there's got to be a more energetic and congruent way to do it than this.

The result is a maddening film, not just for its endorsement of immorality, but for its lack of likable characters, and a plot that drags along in a way that makes it feel far more than its hour and forty minute runtime.

It's still a show defined more by emotion than plot, but structuring it this way — and moving most of the action to Jarden, which has many mysteries of its own — creates a sense of more momentum, rather than a bunch of characters wandering around in a daze.

The supporting characters are vital and vivid: Tracy's tightly plotted game plan is jostled by 11th - hour competition from a sweet football player (newcomer Chris Klein) and his far more complicated lesbian sister (another newcomer, Jessica Campbell), who is, truly, way too cool for school.

The actual plot couldn't be more rote or by the numbers, but Refn — as appears to be his trademark — merely uses genre as a springboard for mining character intricacy and in ways we just haven't seen in quite a while.

The packaging may not reveal much in the way of the film's plot, but it does reveal more about what Poe, Rey and Finn will look like in the film.

Connor cuts away to a flashback whenever we need to understand something else about why Wolff is the way he is, and even though most of those flashbacks are pretty unbelievable in their own right, they keep things moving and — perhaps more importantly — keep you from thinking too much about the rest of the messy plot.

Here are some more facts (as we know them): The plot revolves around a group of wagons in 1845 who decide to take a shortcut on their way to Willamette Valley.

Woodbine, as the troubled brother, has a more thankless role - it's not easy to be the source of all a plot's problems - but the way he gets us involved with the character is to show that his Joshua does love Jason, and their mother, and doesn't want to hurt them - although in his drinking and violence he is obviously the heir of Maddog.

While yes, there are surprises along the way, Infinity War really isn't big on plot, focusing more on a series of battles and set pieces.

The plot unravels beautifully, at a pace that's methodical but still anxiety - inducing, building up an air of psychological fear so impenetrable that the only relief from it is an occasional splattering of visceral horror or an even more rare quip along the way.

Kristen Scott Thomas hasn't played a character this snarky since «Four Weddings and a Funeral» so it's unfortunate Patricia vanishes a quarter ways through the film and when she reappears towards the end, the plot has unnecessarily shifted her from comedic to more bureaucratic.

It's so close to its predecessor in so many ways that I can't see much reason for it to exist, except to give xenophobic viewers an experience similar to the original, but minus the subtitled Korean and the octopus - eating scene — and with a more ostentatiously cartoonish bad guy, and lot more monologuing to explain the convoluted plot.

There's gambling, guns, and plenty of gangsters, but I won't go into the plot much more than that, as one of the most enjoyable parts of «Get Shorty» is the way it effortlessly moves from one comic hitch to the next.

Granted, the film's main plot already begs for belief to be suspended in and of itself, but once we are able to go along with it for entertainment's sake, Larry Cohen's (Cellular, Body Snatchers) rather weak script starts asking for more, until it becomes laughably dumb for the rest of the way.

It's pretty safe to say that if you belong to the first set, you're far more likely to enjoy the film than the second, as this is definitely a film aiming more for Eddie's fan base, not particularly concerned with its story or plot elements when they get in the way of allowing Eddie to do his thing in front of the camera.

Tony is pretty much an everyman character going about his daily business when he happens to see what he sees, which leads to one of Argento's more memorable set pieces as Tony is trapped between the two glass doors of the art gallery, unable to help the victim inside who is bleeding on the floor and unable to escape outside to fetch help, and his and Julia's situation and relationship is played out in a very natural way, the scenes in their apartment with just the two of them interacting being as integral to the plot as the more violent scenes.

For all of the insults I throw his way, Bay has a very defined and sometimes visually beautiful approach to filmmaking that could actually amount to something if he could only concentrate more on the fundamentals of plotting, and less on the need to constantly blow us away with ever - escalating grandiose action extravaganzas.

I wouldn't dare give away much more than this, as the majority of the pleasure in watching Vanilla Sky is the way each new detail of the plot comes into play but then seems to be insignificant in the next scene.

The extortion subplot involving Ansel's manager and Lance Reddick's shadowy menace (playing a mysterious figure in the way only he can) may be a necessary evil to motivate Ansel toward taking on the family as clients, but in practice it is such a half - baked flimsy concept that it never evolves beyond plot device status, feeling more like manipulation than motivation.

Nebula isn't even part of the story until half - way through, and then is treated more as a plot device than an actual character.

Along the way we have a few plot twists, an appearance by the villain Scarecrow, loads of loud action and more thoughtful introspection on the nature of justice and vigilantism than those offered by, let's say, The Punisher or Dirty Harry or most revenge action flicks.

This time around, drawing more from the Ultimate Fantastic Four run of the comics, the plot sees Richards and go travelling to another dimension, where strange forces change them in myriad, and often uncomfortable ways.

What's more, the rest of the cast reacts to this exposition in a bizarrely out of character and nonsensical way, one that seems entirely motivated in furthering the plot.

«Much like Tony Stark, he's constantly plotting, always pushing a scene and looking for ways to poke at the other actor to get more out of them.

Back when I was in high school, one of my classes had been American Literature, and during the course of reading his short story, «The Cask of Amontillado», our instructor told us of how Edgar Allan Poe believed that every element of a story should push forward the plot in some way; even little details that might otherwise seem inconsequential actually fill in the thematic blanks to make the story a more enriching and engrossing experience for the reader.

Browning's rich performance keeps Naomi from coming off like a plot device; longtime Beastie Boy Horovitz is a wonderful surprise as the antsy Nick, whose fatherly affect transforms into something more pestering in a way that seems organic (and pathetic), rather than one - dimensionally monstrous.

Its plot follows the mysterious disappearance of Bowie-esque glam - rocker Maxwell Demon, but the film is actually more interested in concepts, and in so many ways it was simply too cool and strange for mainstream success.

However, writer - director Matthew Robbins (Dragonslayer, Batteries Not Included) does little to make this anything more than a modest adventure, with more needed in the way of plot developments and better characterizations.

This re-make of the Argentinian film, NINE QUEENS, has been re-imagined by writer / director Gregory Jacobs as a quirky daylight noir with a plot that spins on a dime as its twists and turns on its way to proving that it's... Read More»

Jeff Nichols dabbled in this realm already with Take Shelter and in a way, Midnight Special lives on that same street — awe and mystery hovering on the edge of an elusive plot, and the same way Take Shelter builds to a muted but spectacular end, so does Midnight Special, even if it's done with bigger effects and a more spectacular ending.

In his new role, it's up to Birdman to find a way to remove the President from office before everyone starts to worry it's more than the ridiculous plot to an animated show.

But jokes about a 30 - year - old guy who still cares way too much about his mother's approval turn out to be far more harmless than the bizarre plot twist with Aunt Kimberley, who takes a liking to Olivia (for more than just her voice).

Beautiful cinematography, intense acting and a sprawling, morally exhausting plot come together to form the definitive crime drama that quite easily could pave the way for the rest of Gosling and Cooper's career alike — and I'd be more than okay with that.

The Brothers Bloom is an odd, somewhat distancing, but still curiously satisfying confection that may not leave the indelible impression in the mind that Brick does, but, thanks to the brilliant performances, literary presentation, and kitschy European art design, offers a nice bit of escapism into its uniquely quirky world, not dissimilar to the way Wes Anderson might do if he were to create a film with more of a conventional plot (Anderson's Bottle Rocket perhaps comes closest to the spirit of Johnson's film from a story standpoint).