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Narrative in sentence

1451 examples of Narrative in a sentence

One assumes the part was created to afford a little feminine light relief, since the central character is -- inconveniently for the standard narrative curve -- already happily married as a young man when we first meet him, and omits to look elsewhere...
Freaks and Geeks is a wonderful show with real characters the viewers can identify with and it tells school life as it was with all the humiliations, pain, angst, joy, discoveries, secrets...it's a very honest and low key show with a slow narrative but the stories and characters really grab you by the heart.
Fascinatingly detailed, with beautiful camera-work and art direction, but the narrative might have stood some tightening.
It's a very simple, straightforward narrative brought to soul-stirring life by the gifted director.
The super-stylish direction catches your attention, and the flashbacks and changes of focus among the four main characters are confidently and successfully integrated into the narrative.
The narrative and careful attention to plot resembles that of a film, as opposed to that of some 'childish' video game.
The narrative revolves around one of Germany's most luxurious hotels, the Grand Hotel, which provides the setting for a series of interesting guests that struggle with different problems.
I love low budget movies but this one has no style and the narrative jars at every corner.
Writer/director David Cronenberg concocts an unsparingly bleak meditation on the horrors of mankind being reduced to sheer psychotic libido impulses (check out the scene with a homely fat middle-aged woman jumping a younger man while exclaiming "I'm hungry for love!") and does a sound job of creating and maintaining a cold, icky tone which becomes more increasingly creepy and unnerving as the grim narrative progresses towards a wild pull-out-all-the-stops climax which plays like a perverted version of "Night of the Living Dead."
Also known as Bloody Pom Poms, the film takes advantage of its central character's frequent nightmares to clog up the narrative with disturbing dream sequences.
The songs are wonderful and funny, the narrative is brilliant and dark.
This was a modern-day version of a 1940s narrative gangster film, also known as film noir, but with a different twist.
Boy Loses Girl, Boy Pursues Girl is not the typical scenario for many films--least of all for a sci-fi narrative; but that's what one encounters here.
Like French director Bruno Dumont, Reygadas' cinema is predominantly physical and there is little dialogue, narrative thrust, or explanation of the contradictions.
Director Paul McGuigan, working from a bold and sharp script by Johnny Ferguson, handles the dark and gritty material with tremendous bravura style, relates the arresting story at a snappy pace, laces the whole thing with plenty of wickedly funny black humor, and punctuates the gritty narrative with several jolting outbursts of raw, savage violence.
The film's narrative is smartly done with the use of flashbacks and a captivating storyline making this highly enjoyable.
It explores both sides and the ambiguity serves the narrative instead of causing confusion.
The narrative clunkiness is swiftly apparent from the somewhat obvious symbolism of the structural cracks and fissures which fracture the sisters' home at the beginning of the movie, and the stateliness of the family's surroundings is matched by similarly ossified pacing; Dylan Thomas' occasionally poetically barbed and witty insights notwithstanding.
I could eulogise all day about the cinematography, but that would do a disservice to a strong narrative which seems to give a mild contemporary nod to the recently slain Bonnie and Clyde and some terrific acting especially by the two leads.
Here Winterbottom has gone back to the roots of the Ken Loach, Mike Leigh genre of kitchen-sink drama, crossing it with the narrative feel of Robert Altman, and the free-from style of Lars von Trier, creating in the process a new and deeply affecting tale of three south London sister over the course of one weekend (three days).
It is a moving narrative.
The narrative was painfully choppy, the English translation for the subtitles pitifully stilted (and wrong...at one point,according to the subtitles, the Monsignor tells Joachim the Reverend Mother doesn't trust him.
All of Griffith's endless narrative embroidering here makes the stories less interesting, not more refined.
The film is not perfect; there are pacing problems and a series of annoying/confusing flashbacks that break up the narrative; but it also features some strong characters and an interesting plot line with some ideas that actually do hold some weight.
The film takes in themes of patriotism, vigilantism and vengeance, and fuses it with a thriller narrative.
Lynch's segment is magnificently skillful and striking, with a potted narrative of police, a 50's style family, and a bunch of space aliens holding a captive woman - it's almost as effective as the whole of Lost Highway and utterly distinctive.
Every aspect of it, from the narrative conception to the sense of movement to the editing and (not least) the cinematography, strikes a stunning balance between dazzling clarity and a vague dreamy quality.
It has way too many quiet, somber tone-setting scenes that are obviously there to eat up time and delay narrative obligations, but after an hour they just kill the momentum.
The film opens with narrative by the late Richard Kiley, who plays the role of the elderly Matthew the Apostle.
The handsome, careful art direction and design have led some to call the picture a breakthrough in live-action family films, but the pacing is too leaden and the narrative isn't rich enough for most adults.
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