Sentences with phrase «with good character development»

your late with tales of the abbys should have played that one already epic story line with good character development and tales series has in my opinion the best rpg combat system

Director Catherine Hardwicke starts off with good character development and build - up but trails off into an indistinguishable mess.

First half is excellent, with good character development as they try to survive the chaos of war.

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.

But I'm honestly a little disappointed that this film played out the way it did, because it could've been, at the very least, a good movie, if not a great one, if more of an effort was put into putting together a stronger script with better character development.

This same story and idea could have been structured in a different way with better character development and more heart to have the audience feel a bit more sympathy for David or the children.

Not exact matches

The great issues of our time are moral: the uses of power; wealth and poverty; human rights; the moral quality and character of society; loss of the sense of the common good in tandem with the pampering of private interests; domestic violence; outrageous legal and medical costs in a system of maldistributed services; unprecedented developments in biotechnologies which portend good but risk evil; the violation of public trust by high elected officials and their appointees; the growing militarization of many societies; continued racism; the persistence of hunger and malnutrition; a still exploding population in societies hard put to increase jobs and resources; abortion; euthanasia; care for the environment; the claims of future generations.

By studying campers» experiences and camp's impact on the lives of young people, ACA provides parents with the knowledge to make good decisions, to thoughtfully guide their children, and to offer opportunities for powerful lessons in community, character building, skill development, and healthy living.

You start with character development, emotional needs, really importantly keeping kids connected to nature as well.

Season 1 launches the series off strongly, with solid character development and a tidy, well - contained story.

For someone with my background, the film is effectively paced with a good balance of exposition, character development, and special effects - enhanced action.

Critic Consensus: Consistently thrilling, with solid character development and enough gore to please grindhouse fans, this season of The Walking Dead continues to demonstrate why it's one of the best horror shows on television.

It won't win any beauty pageants or appraisal for artistic ingenuity, and it probably won't be marveled at for its in - depth story and character development; but if you crave that old fashioned, non-stop mayhem of an old school first - person shooter, no one does it better and with more attitude then Serious Sam.

What this film seriously lacks in a coherent and discernable plot and character development, it more than makes up for it with tons of style, great cinematography, and well - placed tension.

with the various elements that are part and parcel with comedies of this ilk, including wacky misunderstandings, quirky supporting characters, and histrionic third - act plot developments - with the latter handled particularly well by Jones (ie such interludes aren't nearly as painful and eye - roll - inducing as they could've been).

They've still got to catch up to the rest of the development world when it comes to technical elements, and a better story with more interesting characters would vault this franchise into the 8 + realm.

as a kid i grew up with transformers for toys, but didn't watch the actual show (aside from beast wars) until last year, so i wouldn't consider myself a fan boy, but when a tv show based around toys from the 80's has better dialog, humor, character development, and plot than a high budget Hollywood film, you know something is wrong with the film industry.

Pacific Rim Uprising is a dumb movie that knows it's a dumb movie and just tries to show you a good time and doesn't needlessly bog us down with too much character development or exposition because it knows we don't really care.

Good acting, great development of characters; but you can summarize this way: you will be surprised with the strange sensation that someone has taken a peek into your memories and heart and put it on screen.

Predators is well paced with a good build up and the right degree of character development you need to care about the fate of the human characters.

With a feature film reboot of Red Sonja stuck in development hell for the best part of a decade now, it seems that the character may be heading to the small screen, with Bleeding Cool reporting that X-Men: Apocalypse director Bryan Singer is developing an R - rated TV serWith a feature film reboot of Red Sonja stuck in development hell for the best part of a decade now, it seems that the character may be heading to the small screen, with Bleeding Cool reporting that X-Men: Apocalypse director Bryan Singer is developing an R - rated TV serwith Bleeding Cool reporting that X-Men: Apocalypse director Bryan Singer is developing an R - rated TV series.

Pike does the best that she can with the character, but is ultimately written to be a vehicle for Seretse's emotional development.

Supporting characters played by Bruce McGill (The Insider, Cinderella Man) and Grant Heslov (more recently the successful co-screenwriter, with George Clooney, of Good Night, and Good Luck) are likewise woefully bereft of development or even mildly funny material.

Neighbors is light on character development, ridden with logic issues and doesn't flow particularly well, but director Nicholas Stoller never loses sight of that chief appeal, resulting in a feature that may not be particularly memorable, but is still a fun watch.

Though the narrative shares some obvious similarities with the three - act structure of the first movie, «Catching Fire» is superior in just about every way, including stronger, emotionally - charged performances from Lawrence and Hutcherson and better character development for the other tributes, who are more than just numbers and faces this time around.

During their brief stopover in San Francisco, we talked everything from Community getting renewed for a fifth, improbable season, to winning the aforementioned Academy Award, to the differences between adapting source material from another medium and writing an original screenplay, to character development, and casting The Way, Way Back with some of the better (if not the best) comedic actors of their (and our) generation.

An attempt is made at some character development with these, as well as gruff geologist Fifield (Sean Harris, «A Lonely Place to Die») and another ambiguous automaton, David (Michael Fassbender, «Shame «-RRB-.

Clocking in at just a smidgeon over two hours, it doesn't feel long at all, with good use of character development, not only for the human characters, but also for the dogs, who all have varying personalities that make them easy to distinguish once you get to know them.

It adheres quite well to the formula of the first film, giving us many scenes of character development, putting Rocky in the role of the extreme underdog, followed by scenes of intense training, and a finale in the ring with everything on the line.

With three people coming up with the idea for the story (including co-star Queen Latifah (Barbershop 2), and three other screenwriters actually penning the script, you'd think multiple plot developments and well - rounded characters would be guarantWith three people coming up with the idea for the story (including co-star Queen Latifah (Barbershop 2), and three other screenwriters actually penning the script, you'd think multiple plot developments and well - rounded characters would be guarantwith the idea for the story (including co-star Queen Latifah (Barbershop 2), and three other screenwriters actually penning the script, you'd think multiple plot developments and well - rounded characters would be guaranteed.

What's surprising is that his previous movies had a lot of action, and with Dragon, some good story telling and character development.

It's the second film by independent filmmaker Jon Sherman (Breathing Room), working with first - time screenwriter Eric Pomerance's script, but it feels like the work of more seasoned veterans, with a good balance of storytelling and character development that pays off quite well during the film's more romantic moments.

I suppose that the film's financial lessons are occasionally enlightening and interesting, but they seem better - suited for a documentary by Stone about the 2009 bailout, or would have been better - served in a movie that more effectively merged all of these tectonic shifts with character development that the filmmakers cared equally about.

Meyer brings in strong character development, tie - ins with previous Star Trek films, gripping action, in - jokes, well - crafted sets and special effects, and a complex story that brings intelligence to the forefront.

The movie does actually seem to care more about its characters, with a few good moments of development and other heartfelt ones.

The group of guys are written quite generic at best and are not given anything juicy for the actors to play with regarding character development.

With one of the best twists ever conceived, fun gameplay, and some of the best character development in the Star Wars universe, it's a no brainer to have these two seminal RPGs available on Xbox Backwards Compatibility.

THE LORD OF THE RINGS: THE RETURN OF THE KING (Grade: A): The third and final installment of Peter Jackson's epic adaptation of J. R. R. Tolkien's «Rings» trilogy (winner of 11 Academy Awards, including Best Picture and Best Director) is unique in the annals of movie sequels: a Part Three that fulfills the story and themes of its predecessors with a blissful unity and satisfaction, and surpasses them in character development, emotional depth, visual splendor and every other aspect.

With miscast actors and relatively little in the way of character development, the only thing left to commend Mission to Mars for are some impressive special effects and some interesting ideas that, if handled well, should have been mind - blowing.

«The Room» tells the story (I use the term loosely, as the script is a mishmash of many unexplained developments and characters, with a plot even more out of focus than the camera) of Johnny (played by Wiseau, and Franco as Wiseau in this version), a successful banker who has a fiancee named Lisa (portrayed by Ari Graynor), a best friend named Mark (played by Dave Franco as Greg Sestero), and a teenage protegee of some kind named Danny (played by Josh Hutcherson).

It suffers a bit from poor timing since it comes on the heels of The Post, a thematically similar film with more urgency, superior source material, better character development, and greater contemporary resonance.

With such an interesting basic premise its core, there is almost no time spent on plot or character development and, depending on what exactly it is that you're expecting out of a movie like this, it could very well annoy and bother viewers.

Besides Miller, Harrelson is the only human with any real character development or investment, and he does well to bring a wounded Colonel Kurtz vibe to his fanatic leader who sees himself as the dividing line separating humanity from its imminent collapse.

With spotty acting, superficial developments, and rules that seem to be made up as the film moves along, Dead Silence is strictly only of interest to audiences who are all about scary images set to ominous music, caring far less about a good storyline to follow or characters who do or say things that might be plausible to anyone who experiences them in real life.

Very good performances by Ng, Wong, and Yam keeps the energy level up, while To shows mastery of setting up the action with excellent use of «little touches» that provide moments of interest as well as subtle character development to make them truly exciting.

He starts with «With old - school scares, stellar camerawork and commendable acting, this film — though formulaic — confirms our love of a good horror flick» but he ends his review with «The Conjuring, unfortunately, doesn't carry with it the overwhelming scares, the character development or the ingenuity.&rawith «With old - school scares, stellar camerawork and commendable acting, this film — though formulaic — confirms our love of a good horror flick» but he ends his review with «The Conjuring, unfortunately, doesn't carry with it the overwhelming scares, the character development or the ingenuity.&raWith old - school scares, stellar camerawork and commendable acting, this film — though formulaic — confirms our love of a good horror flick» but he ends his review with «The Conjuring, unfortunately, doesn't carry with it the overwhelming scares, the character development or the ingenuity.&rawith «The Conjuring, unfortunately, doesn't carry with it the overwhelming scares, the character development or the ingenuity.&rawith it the overwhelming scares, the character development or the ingenuity.»

Make no mistake; Safe House is indeed an action effort, with the feature resplendent with the quick - cut, chaotic carnage expected of the genre, as well as the predictable dramatic plotting and scant trace of character development.

While much of the original script remains the same, screenwriters Steven Chbosky and Evan Spiliotopoulos, as well as long - time Disney composer Alan Menken (who also wrote for the original, along with the late Howard Ashman), sprinkle in just enough new material and character development to help it feel fresh.

Final Verdict: DOA: Dead or Alive might be a poor movie with little character development and too much emphasis on fight scenes, but it does what it does best well.

After well over an hour of character development through conversation (with the occasional elbow to the face, almost always directed at the lone woman), Tarantino's taste for violence surfaces in a tense showdown that kills off a character.