Game dialogue definitely has an weak point in defaulting to an expository mode, and when this happens it's usually in tandem with a lot of other kitchen-sink elements that are "immersive" or "world-building" but don't respect the player's time or attention. Games that gun for interactive story remain in a perpetual struggle for maximizing the agency of both players and authors, and the compromise is frequently to distort the timeline and social situation as needed, on command, so that instead of cutting down on quantity, players can sample the experience à la carte and then cut short or resume any scenario when they're bored. But it's still a problem if you're like me and feel obligated to view all the content no matter what. There are known patterns now, but it's still a work-in-progress field.
Movies, on the other hand, have a definite limit to how much they can cram in, and so they're more inclined to use time efficiently. As in games, dialogue is extremely convenient as a way to do exposition, but the medium holds many other possibilities. Since there isn't conflict over agency, it's easier to make more elements in a film "inevitable" by design. For a game to present many of the set-pieces shown in movies, it has to carefully coax the player to move in the right direction and look in the right place at the right time.