Whereas most films and television series rely on clunky expositional dialogue to explain whom their characters are and their respective motivations, Collateral establishes all of this visually without ever breaking the flow of the film or feeling unnatural.
Dead Men Tells No Tales is ineffective in every aspect that comprises an action adventure film as it relies on nonexistent charisma and all-too-sparse nostalgia to carry its audience from each of its numerous mindless action sequences.
Wonder Woman presents Diana as someone whose beliefs have not been polluted by the world around her, and because of this she fearlessly embodies feminism, activism, and a belief that the world has the potential to be a better place.
Alien: Covenant succeeds in streamlining its story compared to Prometheus, but in the process it underwhelms in its delivery as it falls into predictable territory and anti-climatic conclusions.
Guardians of the Galaxy Vol. 2 is full of humorous content and moments of levity, but these instances are too frequent to allow for the film to build any sense of consequence and as a result the story falls flat as a whole.
Through the eyes of Agu, the Commandant is shown to be a terrifying force of nature that perceives the war he is fighting as more than just a physical conflict; as to him it is spiritual clash as well.
Tony Soprano and Walter White live outside of the law but fail to embody the traditional portrait of a masculine figure, and as a result of this both men are examined as human beings and not stereotypes.
Before the Rain is cyclical in nature, and the actions that it displays are argued to be endless and far more expansive than the film’s narrative itself because of this.
Hellbound: Hellraiser II creates a villain within itself that is not successful due to the film’s blatant disregard for what made the original film narratively successful, as well as its attempt to expand the world that it has inherited.