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Conventional in sentence

1290 examples of Conventional in a sentence

He is equally effective despite being conventional.
Jafar Panahi has most successfully pointed to this issue of Gender Abuse from with in the frame of conventional film making and patriarchy as well.
This idea taken from several angles, from marriage to sibblings to finding love in the least conventional of places.
Hope Davis adds a sparkle as Kinnear's very conventional wife who is fascinated with this derelict who drifts into their lives.
The movie kept my interest for the most part, but the third act is way too conventional and caused me to roll my eyes as there would be one predictable situation after another.
They were not conventional in real.
The conventional morality of the late 30s and 40s was definitely NOT evident in this film, as the film is essentially about a conniving woman who sleeps her way to the top--and with no apologies along the way.
An accountant wants more from life than the approved conventional success.
This is how it's so defiant of conventional TV.
All three of these tales are pretty creepy and suspenseful because you're never really sure what to expect, and the premise and the settings are so unlike those of conventional horror films that it adds to the strangeness.
The friendship of Hickok with Buffalo Bill, the selling of rifles to the Indians by a great manufacturer to compensate for the losses he would have because of the end of the civil war, Custer and Little Big Horn, the uneasy relationship between Buffalo Bill's wife, a religious woman, with Hickok a man who had killed plenty, also the unusual love affair between Hickok and Calamity all this makes 'The Plainsman' a non conventional and interesting film.
I really cannot imagine how this got funded, and it looks pretty expensive to me, by such a conventional, imagination-less system, but I thank God films like this slip through the system every once in awhile.
It has a conventional 1940's premise told in a most unconventional way, and I am sure some scenes ended up on the cutting room floor.
The film is not visually stunning in the conventional sense.
The Tahiti father-son narrative, even though it's not exactly conventional, ends up making things a little to clear and simple.
It's a kind of post-modern film noir made during the period when more conventional films of this type were quite popular, and it concerns a happy go lucky Irish sailor (played by Welles) who falls in with a mysterious lady (Rita Hayworth, who was married to Welles at the time), and her crippled, and probably impotent husband, played with a brainy, malevolent gusto by Everett Sloan.
If anything it's almost too realistic, as there's little in the way of conventional plot, just scenes from a life.
But the absence of conventional dramatic tension counts for less than it might in a world so subtly drawn.
In any case, I appreciated the fact that Creasy dispenses with conventional bourgeois morality and just caps the bad guys one by one in his methodical quest for justice, which actually results in redemption both for himself and the innocent.
Partially from the perceived need, one feels, to include a conventional love story in the plot to make the film more marketable to a 1950's movie-going public.
It wasn't at all a bad movie, certainly not average, but its plotting and dialog stuck out as being at best conventional and at worst kind of confusing and one-dimensional (which, perhaps as based on Frank Miller's comic book, was the right decision to go with).
But it's sad, because, for a show that was supposed to throw all conventions through the window, it surely was the most conventional of them all.
The screenplay is not conventional and the movie is almost experimental in parts but ... so what ?
But I think this movie don't try to fit in the conventional movie storytelling and it's not looking to be the mtv movie awards new sensation.
I have seen other Weir movies before, and understand that his pacing is really slow and doesn't follow conventional plots, but this movie was very unappealing.
Set aside films such as Ingmar Bergman's acclaimed "The Magic Flute" (1975), Joseph Losey's version of Mozart's "Don Giovanni" (1979)," Carlos Saura's flamenco "Carmen" (1983), and Francesco Rosi's 1984 production of the same material, lead by a cast of international opera stars, as being too mainstream and conventional.
This film is beyond anything that has been made to date, both in Japan and the U.S. It is not a conventional narrative, yet the narrative clips along like a kayaker on speed.
The mysticism and coincidence of multiple people dealing with secret issues in the same location remains one of the most compelling and intriguing film techniques out there (see Todd Solondz's Happiness and P.T. Anderson's Magnolia), and it was certainly more compelling than most of what was being produced by Hollywood at the time (in spite of the fact that this WAS a great time for film, most pictures relied on very conventional and often contrived styles to achieve their popularity).
You want conventional?
There is something both enchanting and disorienting about watching a Christopher Guest film that features conventional camera angles and a narrative structure.
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