Sentences with phrase «like subplot»

Small things like a subplot involving Ann's absent father, a boy at school infatuated with Ann, and the family car, are milked as far as they can go.

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.

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

I feel like the subplots were all only ok but the central concept and the three leads was the glue that held this film together.

I didn't feel like any subplots were left in the dirt and the partnerships of characters were done well providing a great battle of egos which led to great dialogue exchange.

Not exact matches

Their subplot was melodramatic and didn't feel like it worked with the rest of the film.

Fishing is small fry, a tiny subplot of a huge negotiation in which those industries which bring in the most cash - like financial services or car manufacturing - will be prioritised.

It's like Back to the Future, but with trading jargon instead of weird incest subplots.

«s run time - which I thought was two hours, but it really seemed to be like four - seems devoted to a tertiary subplot in the art house Coherence, a film that lacks traditional narrative structure and drips with the ideas mother!

The only edge in the movie is represented by Russell Brand, who actually lived the lifestyle, but he's muzzled by a bad Liverpool accent and a gay subplot that's as insincere as the swaggering anthems by fatuous hacks like Foreigner, Starship and Journey.

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.

... the various subplots never really arc, feeling more like stitched - together snippets from»80s sitcoms.

Yes, it was a romantic tale set in a similar fashion along with a subplot like family issues resolved in a meaningful story.

He makes melodramatic subplots out of documented issues like son Robert's (Joseph Gordon - Levitt) desire to enlist and Mary's mental illness.

Dexter's scenes with Vogel and Deb are so electrifying and morbidly juicy that the subplots involving Dexter's co-workers in Miami Metro Homicide seem more than ever like dreary padding.

The film's uncomplicated plotting allows plenty of space for goofy little throwaway gags — like a running joke about the young McGregor's feeble attempts at birdwatching — that other films might have cut to make way for various subplots or emotional character moments.

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».

«Packed with new tidbits, muddy motivations, and unresolved subplots, «A Gettysburg Address» feels like a ramping - up episode, intended to propel Homeland toward its season - two finale.»

The plot plays out like a very bad Silver Age comic, with a cringeworthy heavy - handed «Captain Planet» - esque anti-nuclear weapon message, beyond cheesy plot consisting of multiple meaningless subplots, mediocre effects - driven action sequences that induce laughter rather than suspense, and actors who seem more disinterested than the next.

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.

McCarthy plays it broad, there's some vague female empowerment subplot counterbalancing her butterfly - like transformation, and there will be some pratfalls.

Serreau directs for maximum freneticism, with her actors rushing around and regurgitating great torrents of imperfectly subtitled dialogue (a gratuitous subplot involving drug traffickers seems to have been inserted just to double the hysteria), and while there are more than a few laughs, most of them are laughs of recognition — seeing these gags again is like coming across long - lost (and vaguely embarrassing) relations.

I liked the Zooey Deschanel character and subplot until her boyfriend gave mouth - to - beak resuscitation to a downed bird.

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.

A subplot about Lincoln's oldest son's (Joseph Gordon - Levitt) determination to serve in the Army feels like a superfluous distraction, while attempts to address the president's complex relationship with his wife, Mary (Sally Field), never quite approach the thoughtful depth and detail of the political maneuvering.

Now each of these subplots do make sense within the overall plot of the movie, but it felt like there wasn't enough to go with, so the writers filled in with fluff.

The subplot involving Baird Whitlock's abduction by a group of jaded Communist screenwriters is a total bore, while many of the big - name actors (like Tatum, Scarlett Johansson, Tilda Swinton and Ralph Fiennes) only appear in one or two scenes each.

The direction is taut, as each subplot is cleverly interwoven to slowly move forward like an intense game of chess before the unnerving celebratory dinner conclusion that recalls KILLER JOE, if a little less sexually sadistic.

That's interesting, I suppose, but the murder subplot never doesn't feel like a gratuitous «hook» in a show blessed with such a unique and potent milieu, and it paves the way for more gangster shit from a former writer of «The Sopranos» (Winter) who apparently can't leave that series behind.2

Writers Pamela Falk and Michael Ellis toss out contrived subplots like moldy rice to choke on: a made - to - order Italian bridegroom, the convenient reappearance of an ex-fiancé, a litany of tired sob stories that we've all heard before.

The screenplay by Simon Beaufoy (Slumdog Millionaire) is close to perfect in the way it relays the story of the match of the film's title, finding a way to juggle a number of subplots to tell a cohesive story that doesn't feel like a typical biopic.

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).

Kent has subplots that go nowhere, including a dull romance with Lois Lane (Amy Adams); their highlight is a sensual, albeit pointless bath tub scene that makes Kent look like a horny jackass than a loving boyfriend.

Boyega and Tran are perfectly enjoyable, and their subplot isn't a complete waste of time, but you start to feel the length of The Last Jedi when it veers off with them, and Finn's arc is a pale echo of Poe's so it's not like much is being accomplished.

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.

On a film like this, there are no subplots or truly supporting characters.

The subplots it chooses to resolve (like a kid in need of a spanking) are inconsequential to the events left open (like how was Hollie convinced to attend a memorial in a state and amongst people that she abhors?

It wants to initially focus on Erik and his dream to become a great dancer like his father, but then, out of nowhere, it presents a completely unrelated subplot that makes the story a lot less fun.

Though an entire subplot devoted to homosexuals in a film like this is usually cause for trepidation, American Wedding distinguishes itself with a refreshing affection for its gay characters — enough so that a few same - sex smooches are shown without irony, a same - sex dance is left uncommented - upon at the reception of the wedding in question, and a gay character named Bear (Eric Allan Kramer) is allowed to be a key figure in two set - piece gags.

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.

Without all those moronic flashbacks, an obnoxious teenage girl, a passionless romantic subplot and all those half - witted villains, Elektra could have been a terrific lone, stoic assassin, quietly searching — like Alain Delon — for meaning in an empty universe.

It grumbles along for what feels like forever, jinking from subplot to subplot, until two shatteringly expensive - looking fights happen back to back, and the whole thing crunches to a halt.

It perhaps goes out of its way to resolve some subplots that would have been better left alone, but that didn't matter so much when I was grinning like an idiot at the pure fun of it all.

It reminds me of routine wartime musicals — not special efforts like The Gang's All Here or Cabin in the Sky or Girl Crazy or The Sky's the Limit, but those wholly forgettable Betty Grable and Alice Faye vehicles, top - heavy with running gags, dopey character actors, corny subplots, and sentimental framing devices.

The extortion subplot involving Ansel's manager and Lance Reddick's shadowy menace (playing a mysterious figure in the way only he can) may be a necessary evil to motivate Ansel toward taking on the family as clients, but in practice it is such a half - baked flimsy concept that it never evolves beyond plot device status, feeling more like manipulation than motivation.

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.

We've got much more piss your pants one liners and forth wall breaking tomfoolery from Wade, it's sweet sensitive and extremely emotional in parts (not since the finale of T2 have I sobbed so much), the OTT action and gore makes a hatchet fight in a Butcher shop look clean in comparison with moments to make hardcore Gore - Geeks give a huge hooray, the cringe worthy «oh no he didn't» moments are rife, there's a touching subplot about what it really means to be Family and also we are treated to an array of colorful supporting characters including an excellent turn from Josh Brolin as futuristic super soldier «Cable», a wonderful performance from upcoming young talented star Julian Dennison (hunt for the wilder people), the obligatory Hugh Jackman cameo and a mega hard Super Villain who makes his previous onscreen incarnation seem like Vinny Jones in a giant penis suit... Oh wait!

Dolan goes on to explain that «this «villain» subplot, albeit funny and entertaining, didn't feel like it belonged to the rest of the story, which ended up not being on heroes or their nemesis, bur [sic] rather on childhood, and its dreams.»

But like many other sequels that have come before it, A Bad Moms Christmas makes the classic mistake of thinking the addition of several new characters and subplots is the same thing as building off of the first film's story in any meaningful way.