Sentences with phrase «into subplots»

Madden and the screenwriter Ol Parker, working from a novel by Deborah Moggach, divide the movie into subplots.

Whereas Ang Lee's film was beautiful and tentative, with several detours into subplots, Francis Lee's film is far grittier and more direct.

What waits at the end of the tunnel ties into a subplot involving a Mexican police officer and his young son, but it goes much further into the dark heart of this battle.

You can read a lot into a subplot that shows Elizabeth being grilled for hours by an investigative committee bent on inflating an office technicality into a career - ending scandal.

In 2008's The Dark Knight especially, Nolan toyed with the notion of Gotham City as a locus for international economic corruption by plugging public fears around the time of the 2007 - 2008 financial crisis into a subplot involving a self - preserving accountant who flees to Hong Kong with a small fortune.

Not exact matches

They draw into themselves the great plot of God's redemption of mankind, reflecting the overall drama of the Bible in many small subplots.

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.

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.

Unfortunately, the movie gets less funny as more subplots are piled upon the trio, especially when the angry Mr. Chow blackmails them, taking the story into darker territory.

And while it was a little exciting to see the Delorean from Back to the Future again, this particular subplot eventually leads into a Pee - Wee's Big Adventure ripoff - as the two characters are chased throughout the studio.

A rather tiresome Arthurian subplot - with Justin Timberlake as the voice of a bratty teenage Prince Arthur - is inserted into the narrative.

Once you overcome that subplot you get a kind of «Pathfinder» meets «Highlander» romp which slowly melts into «The Relic» with a large beastie that moves and see's much like a Giger Alien from «Alien 3».

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.»

It's just as clear, however, that the flabby midsection slowly but surely drains the proceedings of its energy, with the increased emphasis on far - from - enthralling subplots - ie Bravo encounters bureaucratic stumbling blocks during her investigation - effectively transforming Backyard into a progressively tedious experience.

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.

Season 5 kinda regressed into the cliche story of the vampire struggle, there were plenty of jokes but again, stupid subplots were involved to ruin the experience.

From this corner - painted position, the film distracts with equally benign subplots about things like a misinformed assassination attempt, and Elizabeth's dicey decision to dress in full armor to lead her short - numbered army into combat.

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.

The slim plot mainly involves Menashe's attempt to impress his brother - in - law and their rabbi by hosting a successful memorial dinner for his late wife, the preparations for which detour into a brief subplot about a pricey shipment of gefilte fish.

There are several subplots which blend into the plot, making this not so much a one joke story but a continued laugh - a-thon.

The script tries to cram so many different characters and subplots into the story that it sacrifices character development as a result.

Forget the human subplots that writers have managed to weave into the extraordinary tales of recent years — there are no debates on the concept of power or how it should be used, no treatises on the nature of fear — this is pure and unrefined escapism.

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.

To inject some new life into Casey's heist, the script throws in a subplot for Geran and his partner - in - crime, Hagen Kahl (Anthony Hopkins).

Music factors into the romantic fragments of Creed's subplot in interesting ways, and if Ludwig Goransson's score feels as comfortable as the narrative formula, a steady, throbbing hum apparent each time Creed and Bianca interact succeeds in creating a fitting tone.

Furthermore, what effects do these actions have on the citizens caught in the middle of something so ugly and dangerous (a subplot that very few directors have the skill to weave into the grander scheme of things, let alone winding up allowing for some of the strongest takeaways from the film).

It's these forays into broad comedy that wobble the film's impact, and a subplot involving anal sex is not quite as shocking or amusing as Stillman thinks it is.

There's an uncertainly conceived subplot involving an implausibly synthesized «designer drug,» and the religious beliefs of another black cop, evoking some of Tolkin's preoccupations in The Rapture, are shoehorned awkwardly into the proceedings.

There is, however, little doubt that Coming to America loses some momentum as it progresses into its flabby midsection, as Landis offers up a handful of padded - out subplots (eg Akeem's crush on a beautiful coworker) and flat - out needless sequences (eg it's difficult to justify or derive much entertainment out of Murphy's turn as a terrible soul singer).

But true to its operatic spirit, Les Misérables is jam - packed with beaucoup de subplots, among them the plight of a single mother (Anne Hathaway) hurled into the streets; Jean Valjean's vow to raise her at - first adorable (Isabelle Allen), then beautiful (Amanda Seyfried) daughter Cosette; the mission of a ragtag army of revolutionaries revolting against France's One Percent; and the blossoming romance between Cosette and one of the rebels.

Together, their romantic subplot is what anchors the movie into something far more human that civilians and moviegoers alike will relate to.

The subplot of Leo's family also adds a breath of fresh air by producing a layer of drama that is absent from the original, causing choppy waters of emotion to arouse the truth of what really happened after he fell into the sea.

A major subplot in which Darrel pressures his daughter into a series of underground cage fights feels glaringly contrived (and wildly unnecessary) in the context of a no - holds - barred coming - of - age drama that doesn't really need to cheat.

I also attribute part of this to having a variety of subplots that come into play.

There's little to offset this, only a subplot involving Devereux's affair with a married woman (Gina McKee), which manages to breathe life into the film while simultaneously halting its progression.

Porter's own story has some weight behind it, until his subplot turns into a competition with fellow classmate Norah (Jennifer Lawrence) about who has the worse family past as they begin a relationship.

Cuse falls into eye - rolling cliches trying to shoehorn two romance subplots and finding a reason for Lawrence's continued involvement after the initial quakes.

Moody subplots about anti-witch factions and powerful muggle politicians feel so disjointed from the thrust of Scamander's story that they're nearly forgotten before they jut back into the finale.

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.

Also, if you're looking to break into films, these classics are a great starter to learn story techniques, character development, weaving theme with plot and subplots... It's just an invaluable source of educational wealth.

The film's biggest problem, however, is the messy and overly complex narrative, which tries spinning several different subplots into an intricately woven crime thriller but falls flat on its face in the process.

The only thing I found remotely amusing was the celebrity sex tape subplot that turns a no - name into a superstar, mirroring Paris Hilton's rise to household name.

A chance encounter with another orphan of the kaiju war, genius robot pilot - wannabe Amara Namani (Cailee Spaeny) results in both being arrested and inducted into the Pan Pacific Defense Corps just in time to battle another monster incursion as well as mysterious rogue robots in a subplot that's more predictable than it seems to realize.

I understand that all those backstories and subplots couldn't possibly make it into the movie, but couldn't Wright have found a way to better highlight Scott's friend Kim Pine?

Unlike The Thing From Another World, there is no romantic subplot to lighten things up or inject a little estrogen into the mix.

But the cast of characters are split into different subplots.

It expands a subplot of Mary Shelley's original novel into a full - on artificial romance.

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.

Just as the detective's narcotics - blurred mind mostly seems to be elsewhere, however, so the case recedes into the background for the bulk of the film, as his crazed antics bleed into a host of interconnected subplots.

Odin doesn't cross the line into criminal acts without the injection of a drug abuse subplot that has him going off of the deep end.