There is no plot as such and what story there is resists any kind of summary.
Perhaps it is also helped by the fact there are similarities between its story and key plot points and the phenomenally successful Batman trilogy that just wrapped up.
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What opera-goers seem to want is the tried and trusted formula which attracts them to the operatic classics not media images, post-modern playfulness, overt politics or heavy symbolism, but a compelling human story, a gripping plot and a varied but fundamentally tuneful score.
Tolkien's poetry enriches and complements not only the plot of the story but the development of his fictional world.
Although it is called Anastasia, the film addles dates, kills off the ghoulish Rasputin by drowning (rather than poison) and advances the plot through a fairytale love story.
The story focuses on character and plot more than many Chinese epics do, and its presentation is modern, using slow-mo fight replays and computer-animated anatomy sequences to illustrate the forensic detective work.
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While the action is spectacular -- after all, the choreography was handled by kung-fu master Yuen Woo-ping, whose credits include Drunken Master and most recently The Matrix -- what really makes Crouching Tiger a gem is the wonderful blend of nostalgia, stunning cinematography, a fast-paced plot, and -- yes -- a good story.
The story of how Saatchi lost the plot in the late 1980s and early '90s is itself a case study in being led astray by still trying to act a part in a play that ended a while back, but what's equally interesting is how the company was able to rethink its plot, as Saatchi's chief executive, Kevin Roberts, has noted in his blog.
The quirk of this movie is that, for all its pretensions to topical soothsaying and its sombre machinations of plot, it remains, in essence, a love story.
The movie, directed by Chris Weitz, is stuffed with subplots and characters (talking animals, witches, and water gypsies) who all have a story to tell, and the narrative gets so busy that the plot gets lost.
Then this character, played so well by Alan Ruck, up and dies, allowing his story to pay off, rather than living on to fuel another plot.
When you have a story as sprawling as Game of Thrones, with a cast that only continues to grow, and plot-lines sprouting up like magic beanstalks all over the place, the first episode of a season can feel a whole lot like tying up loose ends.
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