Sentences with phrase «of a subplot about»

Despite his penchant for secrecy, he could not prevent the leak of a subplot about Don and his wife, Megan (Jessica Paré), traveling to Hawaii.

McAdams is incapable of being anything but adorable onscreen, Krasinski doesn't say much and does it well, and this might have been a cut - rate version of «The Descendants» (without the genuine emotion) if only Crowe hadn't slopped a belly flop of a subplot about national security and military privatization over the top.

Not exact matches

There has been a «resurgence,» so to speak, of media caring about religious subplots and overtones.

But I saw that the dropping of the subplot was the point: This decision had become painful for the church, so they all shut up about it.

So while the story involves the odd romantic subplot, there's no doubt that it's about themes of friendship, family, bravery and redemption.

While there are many, many compelling things about the film, I found myself gravitating toward a teeny - tiny subplot: when both Joel (Jim Carrey) and Clementine (Kate Winslet) accidentally hear the tapes each recorded of the other in their attempts to erase each other from their memory, they get a glimpse of what their former romantic partner was thinking of them at the time things went south.

The climax of the book comes in a passage about the Civil Rights Act of 1957, and the reader is pulled in by the chicanery and subplots.

The only annoying thing was the yet - again insertion of a Bautista subplot that no one cares about.

Padding comes in the shape of various subplots, none of which have the energy to resolve themselves: there's some drab stuff about the Greys buying a house and wrestling with the implications of parenthood, plus a feud with a voluptuous architect (Arielle Kebbel).

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.

Beyond the chases and gunplay, there's an infertility subplot for Max and Annie; an exhaustingly recurring joke about embarrassed Michelle's one - time celebrity hookup; and truly painful discussion of urban - legendary autoeroticism involving Marilyn Manson.

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.

It's hard to complain about sequences as beautifully choreographed and rendered as these are, but it becomes a little overwhelming, especially when Nelson is tasked with balancing the twin storylines of the kung fu masters battling for supremacy, and the quieter subplot about Po searching for the parents that abandoned him.

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.

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.

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.

While written in reaction to accusations against Bill O'Reilly and Roger Ailes, season two of Master of None included a subplot about a renowned chef and TV host (played by Bobby Cannavale) who partners with Dev on a new TV series and is later accused of sexual harassment.

A subplot has been added, and some of the horrors refined so that we're left with a film that at least doesn't leave you wondering what the hell it was all about.

There are subplots that drag, such as one about the president's eldest son wanting to enlist in the Union army; in the role, the typically charismatic Gordon - Levitt struggles unsuccessfully to hold the frame opposite Day - Lewis (though the scene in which he follows a bleeding wheelbarrow culminates in the movie's most graphic and striking visual, a rare example of an assertion of image over dialogue).

Catrin has an artist husband (Jack Huston) who isn't happy about her new job, and there are hints of a romantic - comedy subplot between Catrin and Buckley.

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.

It would be perfectly acceptable if there wasn't a whole other subplot about one of the characters getting sent abusive text messages — how is she able to get a signal?

If Alfredson and his three - person team of screenwriters weren't so focused on a subplot involving a sleazy engineer (JK Simmons sporting a terrible accent) or flashbacks with a washed - up detective (Val Kilmer in his first theatrical film since MacGruber), we might care more about Harry.

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.

You see I want to talk about the film's structure, how its episodic and unfocused storyline actually points toward its origins as a manga, and how while having little in the way of actual plot the film uses metaphor and subplot as text rather than subtext.

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).

An important subplot about a murder takes a back seat to coming - of - age sexual awakenings, aggressively cloaked homosexuality, and routine racial prejudice, all under the guise of Daniels» busy camera.

Whether it's the sudden separation of Jenna's parents (Tom Wilkinson and Blythe Danner), the broken marriage between Chris (Affleck) and his wife, or Izzy's (Weston) unspoken love for his dying father, the film's subplots offer much richer life lessons than «cheating is bad,» which is essentially what Braff's side of the tale is all about.

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.

Personally, I'd rather worry about Nick than the cops breathing down my neck the rest of my life, although there is a subplot involving a life insurance policy that neither party claims to know anything about, further confusing the motives.

More effective is a long scene in which the guys make a group of well - to - do women feel better about their lives, while a romantic subplot involving Mike and a rebellious photographer (Amber Heard) is slight.

Each of them have their own little journey that mingles beautifully with everyone else's, leaving you satisfied with just about every one of the arcs — with the exception of a somewhat misjudged subplot involving Juliette Lewis» Karen and what her fiancee (Dermot Mulroney) might really be up to — and never feeling short - changed in any way.

The piece reveals that Anderson regular Melora Walters played the singer in a trio that entertains at Dodd's book party, as well as an amusing subplot about Freddie being entrusted with guarding a box that's a little unfathomable out of context.

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!

Surely this is an element of the overall feeling of detachment from the movie, and the lack of narrative focus drags the front - loaded first act (A subplot involving the identical, bumbling Inspectors Thompson (Simon Pegg and Nick Frost) and a pickpocket (Toby Jones) only provides some stilted comedy; something is off about the physics of this animated world).

Director Robert Benton's exploration of romance is insultingly simplistic and yet painfully convoluted, full of melodramatic non-revelations about the nature of love and subplots upon subplots that stack up to a bunch of love - and - lost hooey.

There's a whole subplot about a Vietnamese priest that purposefully refuses to make any kind of sense for most of the run time.

But a distracting subplot about a homophobic, off - his - rocker neighbor simmers distractingly on the margins of the narrative, before giving way to a truly ruinous plot turn — a genre leap so misjudged that all the goodwill Silva has built up until that point goes up in flames.

Hook and Tiger Lily have a romantic subplot that no one cares about and Peter spends a lot of time being a really awful brat — which jives with what a selfish asshole Peter Pan is in literature, so at least they got that right — and there's a giant blind crocodile but Hook never loses his hand because Warner Brothers thought they were launching a franchise and could do that in another movie.

It's one thing to be about love, and entirely another to be one not just about romantic love, but all types of love — also love between friends, within a family (as illustrated in a subplot involving Naina's bickering mother and grandmother, which nicely supports the main story), and its power to inspire people to act beyond themselves.

While the idea of slick David Copperfield types using magic to pull off capers is enticing and spectacular, the first movie squandered its potential with an inane subplot about an all - seeing magic society called «The Eye,» and one of the most obnoxious film twists in recent history.

There's a subplot about a rival government organization, but it's totally undeveloped, perhaps because of the political implications of a local group being forced to submit to the rigid amoral hierarchy of a bureaucratic power.

From the contrived Jim - Pam subplot, to the complete devolution of the Andy Bernard character (somehow making him more annoying in the process), there wasn't much to love about this season apart from the well - crafted series finale.

Considering this is a comedy and most comedies suck nowadays, I am not going to spend a lot of time talking about some of the silly subplots that go on in the film.

A small part by Alan Alda, as the original Elysium founder plays out pleasingly, and it is his character Carvin that holds the deed to the farm, offering the story its silly subplot about a big corporation trying to buy out Elysium to build a casino, which at one point has Linda running topless (with others) in front of a television camera.

The film, said to be in the vein of «Pulp Fiction», features a subplot about the Manson murders, with Margot Robbie set to play Sharon Tate.

At once oversimplified and overcomplicated — the type of film where shadowy elites cackle sinisterly while meeting at an abandoned carnival in broad daylight — The Crash fumbles between bad diatribe and bad domestic drama, complete with subplots about absent parents and childhood cancer.

Unhappily, the initially intriguing suspense subplot runs afoul of too many cross-purposes and, more crucially, Christopher Plummer's and Catherine Schell's failure to be convincing about their droll self - possession.

Yet what sounds like a straightforward revenge plot turns out to be something altogether more involving, as Tarantino's dramatic breaches of standard chronology not only keep things interestingly non-linear, but also enable the introduction of a number of subplots, equally about revenge, which complicate our interpretation of the main revenge plot, its causes and its consequences.