Sentences with phrase «with ridiculous plot»

Taking control of Deadpool, the player is entertained with the ridiculous plot that has Deadpool himself as the director.

as they say and come up with ridiculous plot ideas and stories.

Again, Johanson, you're the only intelligent reviewer of a movie with a ridiculous plot.

Not exact matches

These films are patently ridiculous, with plot holes the size of Mars, clunky dialogue, and what can only be described as an alternate interpretation of space and time.

It starts off promisingly with some stylised and ridiculous heroics involving a German sub, but once the island has been occupied and a few excellent monsters vanquished, the plot settles down to some very ordinary machinations.

Cliched teeny bopper show with bad scripts, ridiculous plots and god awful acting, the lead actress is horrendous.

Awesome fun.The moronic critics are giving this negative reviews because it's not deep and psychologically challenging and blah blah blah.It's a movie about human - sized turtles with a ninja arsenal; over the top silliness and ridiculous action scenes and plot were expected and delivered.

Game Night «s ridiculous plot is followed fully through, with Max and Annie going as far as firing guns and running over bad guys in attempt to finish the game.

If this would have been a slightly longer feature, with a bit more depth to its sheer ridiculous plot, then Blood Car would really have been a great horror comedy.

A dull and painful mess that seems like a clumsy mix of The Transporter, Angel Heart and Kill Bill, forcing us to put up with an unbelievably stupid protagonist amidst embarrassing clichés, a lot of godawful dialogue, absurd plot holes and a ridiculous ending.

I think its along the same lines as «Repo Man»... a totally ridiculous off the wall plot with some great artistic visuals, the perfect B - movie.

From the ridiculous title, with those two M's gummily stuck together in the middle, to the uniformly atrocious performances, from the incomprehensible plot to the sluggish pacing, The Phantom Menace is an unsalvageable disaster.

By the end, director Sidney Pollack has spent so much time with Silvia and Tobin at the expense of the tension, building plot elements a thriller needs to keep moving forward, that he has to play quite a bit of bait and switch to get things where they need to be for the climax he wants, which is moving but by that point a bit ridiculous.

Once the central plot — Pilgrim must defeat his new girlfriend's seven evil exes in increasingly ridiculous, but entertaining, fashion — it hits it stride with aplomb.

As with other Bruckheimer endeavors, a bunch of lame - ass 20 - something male actors fill up the supporting cast in an effort for the female audience members to argue over who's the cutest to keep their minds occupied from the ridiculous plot and poor character development.

Pacific Rim was by no means a masterpiece, but it balanced a seemingly ridiculous plot with some unique looking action set pieces to make for an incredibly enjoyable summer flick.

The plot is terribly clichéd, the action sequences aren't very exciting, and though Cage's performance is definitely more restrained than usual, Lucas makes up for it with one of the year's most ridiculous villains.

Worse, he handles the the movie's ridiculous coincidences and plot devices with a grim attitude — an indifference toward a child in peril, for example — thereby drowning out the movie's potential fun.

A scene featuring a deranged Anna Faris playing herself got most of the attention, but it's cross-cut with an even funnier moment: Keegan - Michael Key sitting in his minivan with some hardcore killers, trying — successfully, as it turns out — to convince them that George Michael is truly «O.G.» It's the sort of sublimely ridiculous moment that makes you wish these guys hadn't needed to expend their brainpower on coming up with a story for Keanu, which suffers when it tries to further its own silly plot but glimmers when it just lets its stars get silly.

Compound that with a fairly ridiculous plot and a final shot that somehow leaves the impression that an adequate ending was never quite able to be conveyed, and Simon's film turns from a sure crowd - pleaser to one that can irk if you aren't in the mindset to accept it as just a piece of fluff entertainment and nothing more.

They gamely stumble through, crippled by a ridiculous plot about a suburban couple trying to re-ignite their relationship with a night out on the town; meanwhile it's the film that goes up in flames.

The gadgets are self - consciously ridiculous — among its other properties, Hart's umbrella is bulletproof — and the plot, purloined to a considerable degree from Moonraker, involves a diabolical mastermind with dreams of global dominion.

Although the three lead actors are all working under serious impediments — Travolta has been equipped with a singularly ridiculous soul patch and a Boston accent that runs the gamut from non-existent to «SNL» sketch broadness, oftentimes in the same scene, Plummer has a role that all but insists on being played in the hammiest manner imaginable and Sheridan (whose previous films have included such better projects as «The Tree of Life,» «Mud» and «Joe») is playing a contrivance instead of a character — they are not without a certain innate charm, and indeed, the best scenes here are the ones in which they are simply allowed to interact and bounce off of each other in a relaxed manner before having to return to the mechanics of the increasingly forced plot.

The convoluted plot is ridiculous beyond endurance; Ahrens» screenplay, featuring such lines as Harry's declaration that «no dog is gonna get his paws» on the money, is tone - deaf; and the performances, with the exception of the charming, low - key James, are wildly overpitched.

One ridiculous plot twist later, they're all inside the tomb of Egyptian princess Ahmanet (Sofia Boutella), who was buried alive 5,000 years ago for conspiring with the death god Set and doing very bad things to her family.

This movie is ridden with plot holes, it has an unacceptable amount of logic issues, Mystique's costume is distractingly fake and silly looking, Anna Paquin gets a title card yet is in five seconds of the movie, multiple story beats are repeated and the narrative puts into question everything that's happened in previous «X-Men» films, but, if you can get past the fact that the «Days of Future Past» narrative is downright ridiculous, you can still enjoy some of the mindless, summer fun — and Quicksilver's sequences, because that's high quality cinema right there.

And you are right, «Prisoners» is basically a standard kidnapping picture with Big Meaning grafted between each ridiculous plot point.

Tossed in for flavouring is tough NYPD detective Sandra Cassidy (Jennifer Esposito, in a different movie until the last ten minutes), and Platt, briefly chewing scenery in ridiculous Harry Potter glasses while gamely enduring a couple of major plot twists so unconvincing you can sense him wishing for a magic wand with which to spirit himself into something better.

It's just a shame that the film strays so far from its intended path with ridiculous sub plots and rehashed jokes.

The past was button mashing, sex in the form of ridiculous QTEs, and a paper - thin plot with paper - thin characters all about the spectacle.

This one is ridiculous with a horrible plot, shotty controls and just an overall bad game!

This one is ridiculous with a horrible plot,

Cue lots of ridiculous plot twists, robotic arms, and fights with supernatural beings in the chapter that fills the gap between the eras of Big Boss and Solid Snake.

The plot can feel a bit cluttered, and with all the ridiculous goings - on around Bayonetta, it gets even more lost.