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Narrative in sentence

1451 examples of Narrative in a sentence

but as a narrative and entertaining animation it held nothing to make wasting an hour and a half worth while.
Motives are utterly incomprehensible and a narrative does not exist.
The narrative doesn't move but proceeds at a snail's pace in an abrupt series of jerks.
Kundera's novels are great because of his manipulation of the narrative concept, his ability to step in and out of stories he constructs.
are worth their salt, they should be able to convey the bulk of the narrative without having to read it out, reminded me of personages who can't think off the cuff but rely on teleprompters.
They could have kept the narrative but at least made it much more believable and interesting if it was coming from a psychiatrist or maybe a newspaper reporter or something.
Unfortunately it stays absurd the WHOLE time with no general narrative eventually making it just too off putting.
The film loses momentum, though, when it begins to concentrate more on the narrative story of two doomed lovers.
What Is It? is a mish-mash of bizarre recurring motifs (snails, Shirley Temple, swastikas, and overtly racist music, among others) unfettered by any sort of narrative or plot or character development.
However, do not address elements of artistic expression in a vacuum in which the audience is in a continual struggle to grasp at skimpy narrative threads.
But sentiment at the expense of narrative honesty?
For those who haven't read the book, the sketchy narrative (leaping forward in time) isn't absorbing, we are never allowed to get our bearings with what's happening, and the production seems stunted by a low budget.
A noble effort, ultimately done in by lack of narrative cohesion.
The script by Steven Hodge is atrocious, there's no narrative structure, excitement, tension, drama, character development & the things that do happen are so mind numbingly dumb it's untrue.
The picture is balky with turgid sequences, a wobbly narrative and confusing editing (always slanted to point up the artistic excesses).
A silly narrative remains as such despite the iconic legacy of Neal Young.
Unfortunately, it's borderline painful to sit through with its convoluted narrative and glacial pace.
However, we are in "modern art-house cinema" territory, so conventions like narrative structure, lighting the subject so it can be seen, camera techniques that add to rather than distract from the action and a vaguely consistent plot can all be abandoned.
At the end, when Emma decides she loves Mr Knightly, it comes across as utterly baffling because this narrative hasn't been adequately shown and carried along throughout the film.
Although in some aspects Seven Pounds is solid and interesting in some of its narrative style, Gabriele Muccino's project is rather mediocre.
This is truly terrible: painfully irritating stylised performers screech and mug gratingly incoherent dialogues which take place in scenes which seem to have no purpose, no beginning, middle or end, cut together without any apparent narrative or even cognitive intention, all in the service of some entirely uninteresting and almost undetectable "story".
Director Chang has no sense of style, and he is unable to hide the glaring imperfections found in the narrative.
Though very little dialog is provided throughout the film, the visual narrative told by the camera's eye alone made the film quite engaging.
Expertly directed by Alan Gibson with a fine sense for balanced narrative movement, the film provides freshness in nearly every scene, as felon Martin Steckert (Richard Harris), believing that his rejection for parole was particularly undeserved, contrives a convoluted but ultimately successful escape plan, following which his spontaneous nature comes to the fore as he flees to the lakeside residence of his childhood.
The nonlinear narrative is not a mere gimmick but an interesting way to present sequences from different perspectives.
At a time in our culture where reality exposed as narrative is overpowering fiction as we know it on the small and big screen, "Apart From That" is a film that exposes real life moments that feel more honest, fresh and innovative in there presentation than I have ever seen before.
EUROPA (ZENTROPA) is a masterpiece that gives the viewer the excitement that must have come with the birth of the narrative film nearly a century ago.
The film has a greater power and intensity than the novel because Visconti is able to create the filmic equivalent of Cain's narrative structure but offer a more complex exploration of gender.
Events take a further complicated turn when,escaping from custody,Mr.Cage narrowly avoids being run over by the real hit-man on his way to fulfill his commission.About now you might be forgiven for thinking "enough already",but as it happens on the screen it seems a completely logical turn of events,the narrative flow of the movie at this point seeming unstoppable.
Although Eastwood has enormous talent as a director, dramaturgy has always been his weak point (see Play Misty for me, Breezy etc.) Thepace of the narrative leads to the visual elements being well integrated into the film and not distracting from the story.
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