Example collocations logo

Melodrama in sentence

311 examples of Melodrama in a sentence

This essentially tradition rooted melodrama is given only a moderate budget, despite the presence of a goodly number of well-known players, including Steve Buscemi, Anthony Quinn, and Stanley Tucci, and was kept in the can for about a year before its rather desultory distribution and leaden marketing efforts on its behalf, more's the pity as its solid production characteristics are firmly complemented by Alexandre Rockwell's admirably controlled direction, a consistent virtue of his work, and on display in this film from its very opening scene, frames that form a montage behind the credits, featuring Perez at Skid Row's Fifth and Main Streets.
Female melodrama at its finest, with a lot of comedy: great dialogue, characters and writing.
I'd recommend this film to anyone who loves a well-written screenplay of humor and melodrama.
Maybe the music, the dancing, or the melodrama around the plot of Baby Frances becoming a dancing sensation with Johnny Castle.
This super creepy Southern Gothic melodrama stars Clint Eastwood as a wounded Confederate officer in the Civil War who's taken in by a rural girls' school and nursed back to health.
Improbable, but satisfying suburban melodrama.
One of its demands is tolerance for a certain coyness and misdirection as to the exact genre we are watching: a crime melodrama, no, a spy thriller, ah, a romantic comedy.
The movie avoid any melodrama and tells this story in a simple way.
Rather than the presentation of a mundane melodrama, the actors almost militant lack of affectation forces the viewer to confront the film in a different manner.
The time was created well, the feelings of the people were well done and the political elements were not two dimensionally made into melodrama as in so many American series.
It's nowhere near a great film, but its importance lies in Otto Preminger's dedication to making it feel real and on the edge of melodrama and naturalism.
I would think this film played to many howling appreciative audiences in huge theaters in 1933 and offers viewers even in 2005 a very fruity melodrama enlivened by crackling dialog not afraid to call Mother exactly as she is.
At first I thought some of the throat clutching melodrama of Mother was dated until I realized it was a set up of the excellent screenplay to make the viewer laugh at her as though she is a weak little old lady......NOT..... but nor are the other two women in this powerhouse play on film, hence the fantastic retort dialog.
The former is a Civil War melodrama about Inman (Jude Law), a Confederate soldier who deserts the army to return to Ada Monroe (Nicole Kidman) a girl he barely knows.
A must for Beller fans and highly recommended for fans of 70s High School melodrama or 70s kitsch in general.
This is a stigma that floats all over this film, and in many instances in Fassbinder's work in general, but especially because with Four Seasons he takes his eye on the middle class, and a particular married couple- the distanced, depressed, angry Hans the fruit seller and his long-suffered wife- that is nothing short than trying for realism in the guise of melodrama.
The melodrama is not convincing and the character ends up being just plain boring.
As in WATER, FIRE is deeply spiritual, even if it technically falls into the mode of sentimental melodrama (where WATER, much like the weight of the word, carries a stronger meaning that ultimately transcends its definition).
Kieslowski doesn't bring extenuating circumstances seasoned with honey-tongued tones of melodrama in favor of the defendant, differently from some Hollywood stereotypes like "I want to live" (by Robert Wise).
That depends on your taste for Japanese melodrama.
The spoilers in this review are offered as a public service, because the only way to enjoy this costume melodrama is to know that our protagonist, the Lady Barbara Skelton, gets raped and gunned down in the end.
Mass melodrama, unintentionally funny dramatic moments, boring fight scenes, really uninspired plot twists are what await you with Shi Mian Mai Fu.
They took THE classic play and turned it into the most boring melodrama imaginable.
This stuffy melodrama is quite easily the worst film starring Ingrid Bergman that I've seen.
Worked on by three writers (Walter Ferris, Durward Grimstead, and Bradley King), the story elements are rather interesting (especially coming out of Hollywood in 1937), though to anyone who has since read Arthur Miller's "The Crucible", the hoked-up melodrama on display here won't be tolerated for very long.
The only redeeming quality of this overlong miscast melodrama is the scenery of southern France and the voice of Nana Mascouri singing the theme song.
Basically you had this very slow pace and this naturalistic style of acting, but it was all there to prop up a very formulaic and predictable story, complete with all the trappings one would expect from any small town melodrama -- everything from the boy cheating with his teacher's wife to the handicapped kid who everyone picks on.
The cast/crew made this movie a bad melodrama.
Not even they can save this completely over acted melodrama.
The movie isn't a cop-out, exactly, but it is a fraud, handicapped further by the bad editing, the poorly-conceived flashbacks, the low-budget production, and the big finale which smacks of silly pretension and soapy melodrama.
BackNext