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Exposition in sentence

91 examples of Exposition in a sentence

But be warned: there's an inordinate amount of lame comedy and tedious story exposition.
Despite the equally typical inclusion of a romantic couple, the film is pretty much put across in a documentary style - which is perhaps a cheap way of leaving a lot of the exposition to narration and an excuse to insert as much stock footage as is humanly possibly for what is unmistakably an extremely low-budget venture!
It works hard to set up its convoluted plot, yet the writing is so muddled the exposition is still cloudy at best.
Some of the exposition are delivered so obviously that even children may find it stupid.
Instead we have to suffer through dithering Baltimorean-Brits stammer through endless and tiresome exposition.
If you like films that ramble with little plot exposition spiced with kinky sex, this film is for you.
A movie lives and dies on its story and here you have one dimensional stereotypes, exposition aplenty, and spontaneous changes in character behavior that are inexplicably to say the least.
The plot exposition is very poorly rendered.
There are exploding boats, hat pin murders, mass suicides, pathologists with body parts, and all sorts of classic mystery/horror scenes, but they're interspersed with extended periods of pure exposition.
Supporting turns by David Thewlis and Charlotte Rampling waste these fine actors on talky exposition scenes and cliché-heavy posturing.
Sure, it is low budget, but that can't excuse the stilted staging, shooting gaffes, or clumsy exposition in the first 15 minutes.
Home video quality actors present so-called characters spewing overwrought exposition and metaphysical hokum, while the film is propelled by the extremely heavy-handed direction of Armand Mastroianni.
We get that in the first few minutes; the rest of this tasteful, tactful movie is made up of exposition, defensive confrontation and, ultimately, compassion.
Combinatoric iteration of mutant fight scenes strung together by inane exposition justifying formation/dissolution of arbitrary alliances.
The nearest I ever came to seeing this was a clip shown at a Gerard Philippe exposition in Paris about two years ago.
Plus the exposition is needed so we know why Harry wants to go back into the jungle.
Saying more with a silence or look than many Hollywood actresses can manage in an entire film she informs the audience of the entire storylines long before any exposition occurs.
There's also much harrumphing and exposition spouting by the King and the Grand Duke.
Crime is essentially banal, so the pay off is always anti-climactic, whilst detailed exposition detracts from the human drama.
I never saw the exposition of life like this in any movie as it goes on behind the curtains in the ghetto, and this movie showed me a small portion of just that.
Bad enough this turkey is stuffed with unnecessary exposition, but the ending destroys the whole point of the story!
Creators of the first film were smart to realize that the audience didn't need all that exposition to make the story work.
Early in the story we are treated to a colorful but talky exposition which sets the plot in motion: On the day the Civil War starts, Jim Fisk (Edward Arnold), itinerant peddler, and his partners in crime (Cary Grant and Jack Oakie) devise a scheme to buy cotton cheaply in the South, smuggle it North and sell it at a high price to New England mills, thus launching the career of one of the fabled financial speculators of the 19th century.
At least this had an interesting story, but as befalls so many films in this mind-bending sci-fi genre (and "The Matrix" suffers from this as well, though it's a far better movie), the writers have set up such a cerebral concept that the movie grinds to a halt when it has to trudge through all the exposition just so that the audience can keep track of what's going on.
But that's another subplot that doesn't need much exposition.
It would have been tempting for the writer/director to include some sort of exposition of his childhood and/or his relationship with his mother and other women, either as flashback or monologue.
The new writing/directing team of Megan Martin and Brett Sullivan pick up where the previous film left off, skillfully bridging the two with a bare minimum of rehashed exposition, and the end result is extremely satisfying (though the machinations of "Unleashed"'s final third made me wish the script had tied some thematic/character arcs together better).
The exposition scenes are painfully awkward, the dialog mostly atrocious, and the performances reflect this (with dismal results).
Jodhaa Akbar has too much unnecessary exposition.
The only event that had occurred, excluding the painfully boring exposition, was the little girl chasing the naked kid for 40 seconds or so only to lose him in his little boat.
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