Sentences with phrase «good subplot»

His unlikely recovery would also be a feel - good subplot for Nigeria as they attempt to write another chapter in their Mundial history.

David Cameron did his best to ruin the buildup to his leader's speech by getting into a muddle over credit cards, but the best subplot came from none other than Boris.

The overabundance of endings aside, the action is swift and succinct; Gondor's socio - political turmoil is one of the series» best subplots.

Hathaway is game, but she's unable to make Kyle seem like anything more than a distraction from the better subplots, like the young cop Blake (Joseph Gordon - Levitt), who has his own theories on Dent and Batman's true legacy.

Not exact matches

Arya and the House of Black and White; Rickon Stark; Ellaria Sand, the Sand Snakes, and a Dorne subplot best left to wither on the vine; Ghost; Euron Greyjoy; Bran and the Three - Eyed Raven; visions of young Ned Stark; Bronn (maybe Littlefinger can pay him to join the Knights of the Vale?)

There's a camp subplot that affects Samuels as well: Rumors are rampant that Andy Heck, Washington's insurance policy at left tackle, will retire before the season starts because of persistent back problems.

That continues to be the most important subplot to what UGA is doing on the recruiting trail: getting the best players in the Peach State to go to Athens.

One of the more compelling subplots of the fall has been the battle among the non-Chase drivers to be the best of the rest, to generate momentum that they can carry into next season.

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.

The House of Representatives seemed poised to pass a bill to keep the government open until 16 February, after promising conservatives a vote on a major increase in defense spending, a hard - line immigration bill as well as other unnamed concessions that the conservative House Freedom Caucus leader Mark Meadows called «subplots» on Thursday night.

A captivating, well - acted, intense and suspenseful thriller that suffers from excessive flashbacks and a contrived romantic subplot.

All things considered, it is a well - wrought piece of entertainment, confidently paced, although its necessary subplots are little more than dutiful filler sandwiched between fight sequences.

That's also true of the film as a whole, which is so elaborately plotted — crosscutting between past and future while keeping a good half - dozen subplots spinning in the air — as to seem more like a contraption than a movie.

One subplot that was unneeded involved Tessa best friend.

There are subplots with Martha's roommate, whom hates this «Mr. Right» guy, which never get's resolved, and I felt it needed to be, as they were best friends after all.

It's a tragic subplot, but we don't see Tessa and her best together much to for strong story telling.

The producers would have done just as well in my book if they had scrapped Cheadle, Johansson, and the corny make - my - father - proud and my - suit - is - poisoning - my - blood subplots, and just focused on Stark, Ivan, Hammer, and Potts.

The film's padded - out vibe is compounded by an assortment of oddly incongruous subplots, with the best and most apt example of this everything revolving around Dylan's Alzheimer's - afflicted father (Richard Jenkins, in an admittedly stirring performance).

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

Its closing moments, too, are breathtaking — between revamped costumes and a well - executed subplot.

Director Daniel Sanchez Arévalo would have done well leaving a few subplots on the cutting - room floor.

Nor does this hour demonstrate the sophisticated humor of «Veep,» a better parody that doesn't need a zombie - like subplot.

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.

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.

The problem somewhat lies in misplaced priorities: Phillips and co-writer Scot Armstrong waste too much time on a silly love - interest subplot for Wilson; that time is much better served by the frat - boy idiocies, like Frank beer - bonging himself into streaking.

Additionally, the story has been fatally retooled into a good vs. evil morality play, resulting in the original's subplot of the doctor's skeptical wife charging in for a visit and disappearing in the bowels of the house being swapped with some nonsense about the souls of the children who expired in Crain's sweatshop manifesting themselves to Nell as wraiths under sheets and ornately carved wooden heads come to life.

Movie starts out well, with good mistery and situations but unfortunently looses a bit of his focus midway with unnecessary subplots and doesn't have a bagging end as it probably should've.

American Made is one of the many children of «Goodfellas,» a true - crime story turned first - person narrative told by a charismatic ne'er - do - well surrounded by dubious characters and tantalizing subplots.

And of course there's a whole freakin» subplot about «what girls want,» via which Marmaduke learns to be a better man and will — I shit you not — teach Lee Pace's harried dad to be a better dad.

That's a pretty big strike against the movie from the start, and although Blitz tries his best to mold the story into a sort of adult «Breakfast Club,» the characters are paper - thin and none of the subplots pay off, including a potential romance between Eloise and a hunky wedding crasher (Thomas Cocquerel) that goes nowhere.

Sure, it's to bridge a connection and unity between their opposing viewpoints so that Lyndon B. Johnson's staunch pushing of the Civil Rights Act feels in character for someone that previously toed the line of racism (he has a friendly association with an openly bigoted US Senator played by Richard Jenkins in a subplot without much engaging drama or consequence), but it also isn't a good enough defense for formulaic and conventional filmmaking.

Another one of the «better» subplots involves British actor Jack Whitehall as a struggling stand - up comedian who wants to marry his girlfriend and mother of his child.

I suppose it's a good thing that this movie has so many crisscrossing subplots.

There are numerous instances like this, such as the insistent neighbor in need of a dog - sitter that feels like a subplot or the fact that film conveniently takes place on Chahārshanbe - Sūri / Wednesday Feast, a holiday dating back a few centuries that both celebrates the oncoming of Spring and is a ritual that promises warmth and good health.

Far more involving — and upstaging the central action — is a subplot following the unlikely but inevitable romance between Preston's acerbic best friend (the delightful Lauren Ambrose) and white homeboy Kenny (a hilarious Seth Green), who find themselves locked in a bathroom together.

The first installment a surprise hit that coasted on a novel combination of savvy music design and an affable cast led by Anna Kendrick; there were enough B - sides left over to for a watchable second movie; now, the premise is stretched so thin that someone thought it would be a good idea to pad it with an action - suspense subplot involving Fat Amy's (Rebel Wilson) long - lost father / international crimelord (John Lithgow with a sketchy Australian accent).

Also in contention must be Fremon Craig's script, which plays to the teen audience with recognisable moments of anguish and glee (the romance subplot involving Hayden Szeto's American / Korean student feels both fresh and warmly familiar) while exploring some very adult emotions; as with the best of the genre, it is a film about teenagers but not just for teenagers.

Director Gore Verbinski and producer Jerry Bruckheimer have adopted the more - is - better approach they used in the Pirates of the Caribbean series to The Lone Ranger, crowding the movie with so many extraneous characters and irrelevant subplots that the film becomes an endurance test dotted by patches of fun.

This strand features a number of sepia - toned flashbacks that tell the backstory of Eddie and Tanya's relationship from their university days to the present, as well as a subplot tracing Eddie's relationship with a childhood friend (and potential lover) Amanda (Sarah Wynter), who he sees, by chance, every nine - and - a-half years.

Gleeson's character could come across as a real jackass, but he doesn't — he's a deeply flawed and mistake - making human being, but ultimately one with a really good heart, as evidenced by the not - quite - throwaway brief subplot with his dying mother.

Allen's own subplot (this is his first onscreen appearance since Scoop) about an American opera promoter's discovery that his prospective Italian in - law (real - life tenor Fabio Armiliato) is a talent only when he sings in the shower coasts nicely on its screwball premise and pays off in a funny set - piece that unfortunately goes on well past the punchline.

While moments, particularly the resolution to that seemingly throwaway subplot about the dead friend, can be moving despite their dissonance (a Farrelly hallmark), they're always cursory to the central duo, who are unrepentant in their squandering of years on foolish pranks, openly hostile towards reflections of their age (e.g., Fraida), and insulated from harsh reality by not only their wilful ignorance, but a perpetual fog of nostalgia as well.

The other half of the movie involves Cecil's home life, which is reduced to his wife Gloria (Oprah Winfrey) turning from a life of heavy drinking and carrying on an affair with a neighbor (Terrence Howard) to becoming a better person, and a contrived series of subplots involving his eldest son Louis (David Oyelowo), who sees his father as weak and wants to fight the good fight for equality.

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.

Frequent digressions to a pair of subplots that eventually pay dividends (an Aussie soap producer in the prologue, a train - obsessed pervert in the body (Geoffrey Rush and Edward Herrmann, respectively)-RRB-, and one that doesn't (Julia Duffy doing her best Joan Rivers), hamstring the momentum of Intolerable Cruelty, miring its little vitriols in sentimentality and farce.

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

The remake, for example, cuts out the entirety of the subplot with Oskar's neighbors as well as the scenes with Oskar's dad.

In its original Dutch - language incarnation (seen by over 15 % of the entire Dane population), Nattevagten is lent a good deal of weight by a satisfying subplot involving the nature of love and the rites of passage young men endure to become men in one another's eyes.

But it's also sincere and good - hearted, with well - staged action scenes and a refreshingly strong romantic subplot that offers a nice alternative to Twilight's moping angst.

Derek Luke is her boyfriend, a sweet guy whose subplot hints he's up to no good, but that's just a cheap tease.