Sentences with phrase «even subplots»

Self - doubt and obsession take hold for a fast, darkly funny read, and even the subplots (Maria is writing a dissertation on Jonestown, the Peoples Temple, and the music they made when they were alive) never falter.

Here, he borrows heavily from both early Bruce Springsteen songs and «The Deer Hunter» — seriously, there's even a subplot in which Russell hunts deer — creating a vivid sense of place in this rusted town full of broken people.

There's a huge helping of racially - tinged jokes throughout, lots of sexual innuendo and situations, drug use, fist - fights, an attempted murder, and even a subplot dealing with a an aborted statutory, and potential real, rape of Peter's teenage daughter.

No tension sticks for long enough to make a discernible dramatic impression; queasily, even the subplot concerning an abuse victim in Poppy's class merely serves as a pretext to hook her up with a cute social worker.

Not exact matches

Even in comparison to just the past few seasons it was not the best played match, nor the most exciting, the subplots were minimal for a game of this magnitude (Barca and Messi in good form, Real and Ronaldo struggling), and it was absent the explosive flashpoints of the Mourinho era.

It's also really long (especially the director's cut), and filled with a lot of filler subplots that just don't work for me, even with the decent use of mood, tone, and atmosphere.

The trappings of family occupy subplots where his eldest son Robert (Joseph Gordon - Levitt) rages to enlist — his father wants to shield him even as he sacrifices countless unknown sons — and his unstable wife Mary (Sally Field) exhausts him with her headaches and heartbreak, even as she turns a Rottweiler's frown upon her husband's opponents.

The good news: there are many twists, turns, subplots and surprises that the coming attractions don't even hint at.

It has difficulty establishing momentum in its first few episodes, even with a smattering of intriguing subplots and story lines, and no one character exerts that intangible ability to make us keep watching.

The cast works very well together, the heist itself is worth the price of admission alone, the comedy is very much present (even though it's not loaded with it), and there is a surprisingly emotional subplot added onto the end.

Even as Snooki and «The Situation» are, in the context of the film, held at arm's length (figuring into a second - half subplot, they're often seen only on monitors and television sets), the Farrellys seem to be saying: «Yes, we even have room for these people.&raEven as Snooki and «The Situation» are, in the context of the film, held at arm's length (figuring into a second - half subplot, they're often seen only on monitors and television sets), the Farrellys seem to be saying: «Yes, we even have room for these people.&raeven have room for these people.»

Both Violet and her sister Suzie (Alison Brie) are funny, flawed, believable characters, even if the subplot of Suzie's shotgun marriage to Tom's best friend Alex (Chris Pratt) feels like an underwritten foil for the main couple's story.

But the sprawling narrative, including flashbacks to terrorist training in Frankfurt and Yemen, and a misguided, metaphorical subplot of an Israeli dance troupe performing on stage, leaves little room to learn more about the rest of the Air France crew or even the hostages, who register as little more than extras in the drama.

Their wasn't even a main plot, it was just entirely consisted of maybe 5 or 6 subplots.

But this time out, Gore Verbinski «s last go - round, it seemed the only way they could cram in more Sparrow was to include a hallucination subplot in which we get multiple Sparrows talking to each other — the film abandoning even the pretense of interest in the bland, chemistry - free romance between Keira Knightley and Orlando Bloom.

The ancillary subplots aren't nearly as interesting this time around (particularly the stuff between Michael Kelly's Chief of Staff and Rachel Brosnahan's reformed call girl), and even the main story feels a bit stretched at times with the constant back and forth between Underwood and Raymond Tusk, but there's rarely a dull moment thanks to the excellent writing and performances.

The subplot involving Rudd's ex Beth (Elizabeth Banks) is pretty poor indeed, and it's a wonder why Banks even accepted such an inconsequential role.

It doesn't help that even Wolf seems bored with the plot — especially frayed - end subplots like Mike's friendships with local boy Scott Colleary (Michael Patrick Carter).

Where the film errs is in introducing the action spy flick elements, which is too prevalent to even call a subplot, as it gets the most amount of screen time.

It even slipped in the suggestion that Clark and Darden were romantically involved — because what's a TV show without a romantic subplot, whether it's an FX drama or a nationally televised murder trial?

Director Brad Peyton (this is his follow - up to «Journey 2: The Mysterious Island», which also starred Johnson) even takes a risk with a subplot that's quite heavy for a typical action film.

The subplots are a mess however, with Billy's troubled relationship and even more troubled past feeling like after thoughts, which are hardly resolved at all.

It's to former music video director Liz Friedlander's credit that, despite the schmaltz and the non-sequiturs, the dance sequences generate so much energy and goodwill that the wider shortcomings (including a lame subplot showing the perils of criminal activity) hardly seem to matter.You may even tap your feet.

The new material includes never - before - seen subplots, extended fight sequences and even the deletion of a few scenes from the theatrical release.

Music really isn't this movie's top priority, and as further evidence, before the band even performs three - quarters of a song in front of a crowd, the screenplay by Ryan Landels has already given us the subplot about the robot, which leads the sisters on a hunt to find some kind of message from Jerrica and Kimber's father to the former (Sorry, Kimber, but only Jerrica gets a posthumous pep talk from dad).

Egoyan's latest even throws in a creepy, non-sequitur-spouting Bruce Greenwood just for good measure, hinting at a subplot that may well have been dropped due to sheer pointlessness.

In fact, it's an even better film as it doesn't get distracted by subplots in the way that Gondry's film did.

A subplot involving Quill's old space - pirate buddies brings Sylvester Stallone into the fold as a veteran Ravager, making the picture feel even more like a classic adventure.

Haven't even touched on the subplot involving a swarthy, hilarious French cowboy (Dante regular Robert Picardo), or Jack's own inamorata, a check - out girl the filmmakers so mishandle that she inadvertently becomes Innerspace's most complex character: her shifts in personality due to schizoid scripting result in actress Wendy Schaal — another member of Dante's stock company — creating a person in more emotional turmoil than even Jack and Tuck.

X-Men: First Class is so stuffed with subplots that even the action sequences contain cutaways to romantic contretemps: On the eve of the Cuban missile crisis, Raven takes some time to process her self - esteem issues.

This action - driven detour comes out of nowhere and does not comfortably mesh with Victor's story, even if the science teacher utters a line to explain this fanciful subplot and even if the whole movie is love letter to Burton's influences.

She might be good - looking, but her role as a strong female figure is never weakened by it, even when romantic subplots begin rising from the woodwork.

Ted is hobbled by a labored third act and a subplot involving a demented loner played by Giovanni Ribisi that is so ragingly gratuitous, it almost feels like an homage to the famously unnecessary diamond - smuggling subplots of the»80s, but Ted is so consistently, even explosively funny and oddly good - natured throughout that it really doesn't need a plot at all, let alone an even - less - welcome chase scene.

Factoring into the equation is a subplot involving Alexandra trying to get people to attend a show she's putting on at a night club later in the evening — it's Christmas Eve — and an Armenian cabbie (Karren Karagulian) who frequents transgender prostitutes when on the clock, with a wife and child waiting for him back at home.

A subplot involving «Law & Order: SVU» star Christopher Meloni as a jungle explorer is one of the film's few clever elements, but even this isn't executed properly.

Perhaps it's not even a question of the film having a main plot at all, but rather, multiplying subplots that push up against each other so that you can't separate the one from the other.

Paddington manages a number of consistently funny running gags that keep the movie lighthearted even in the face of an incredibly creepy subplot in which a Cruella De Vil figure (played by Nicole Kidman) wants to kill and stuff Paddington.

The film's three Oscar - winning screenwriters are the true main protagonists of The Tourist, as they expand the movie with so many different subplots that eventually the tension to keep audiences interested is present, even if it's a tad forced.

The characters and subplots that surround him also play an important part in the picture (you've got Don Cheadle, Bruce Greenwood and even John Goodman as supporting actors).

Some of the jokes — like a tired subplot involving an accidentally digested engagement ring — may seem a little beneath Broken Lizard's comedic standards, but with some of the stuff they've done in the past (i.e. any time Chandrasekhar has gotten naked), it's hard to imagine they even have any.

King's direction is bright, crisp, and cheerful, never getting bogged down in unnecessary subplots and never succumbing to shaky - cam or fast cuts, not even during chase scenes.

Even so, there is a same - sex rivalry with Margaret Court (Jessica McNamee) within the Virginia Slims Circuit that provides yet another intriguing subplot.

It has even been suggested that Myers will be less supernatural and more of a real, believable threat, and they could likely just ignore the whole sibling subplot that Carpenter introduced in 1981's Halloween II, a reveal he has said he himself is not especially proud of.

(Even Taking Sides inserts the scourge of sexual jealousy in a subplot involving Maj. Arnold and Lt. Wells.)

Screenwriters Roberto Orci and Alex Kurtzman strike the perfect balance of action and humor, particularly in this revised take of Kirk (a perfectly cast Chris Pine, Smokin Aces) as a hotshot slacker and keep the story moving even with a time - traveling subplot involving an older Spock (Leonard Nimoy in a welcome cameo that is more than just a token gesture for longtime fans).

Instead this hilarious film manages to stay afloat, even when it offers up a more serious subplot about moral redemption in its latter half.

It's certainly not unfunny, just mildly amusing at best (though a running subplot with Murray as a neighborly uncle, or something, to a group of local black kids is completely out of place), with Allen still able to hold his own onscreen and deliver one liners, even making the most of the slightly worn and familiar zingers he throws out here.

At one moment he's suspicious of his best friend (Jamie Foxx) and wife, and before it can even become an issue, he shifts gears, apologizing for his jealousy (Why raise the subplot in the first place?).

There aren't even any danger signs until Harris and Arkin's subplot in the first half, when Howard E. Smith's editing seems to be elongating and distracting their conversations instead of curating and appreciating them.

And, no surprise, Goodwin even gets a fake subplot in an otherwise disposable, yet charming scene.