Sentences with phrase «part of a subplot»

Not exact matches

It's instantly clear that Howard, along with returning screenwriter David Koepp, has learned nothing from the relative failure of both The Da Vinci Code and Angels & Demons, as Inferno, for the most part, chugs along at a lackadaisical pace that's compounded by an overlong running time and surfeit of underwhelming subplots.

And although the movie admittedly does grow more and more entertaining as Will makes his way to a posh, exclusive part of town, In Time is, in its second half, saddled with an increasingly stagnant vibe that's compounded by an emphasis on underwhelming subplots (eg the continuing exploits of several time thieves).

There are subplots that are suddenly dropped, characters that don't fulfill their potential, and just moments of utter stupidity that counteract the hillarious parts.

All the while, a frantic Ford is working a case involving land developer «Lew the Jew» (Adam Goldberg), whose deal is being scuppered by a mysterious graffiti artist painting X-rated murals of the real estate tycoon (a subplot as puerile as it sounds, though undeniably funny in parts).

Part of the movie focuses on abuse and the cycles of violence it can create, but it's treated with the same clunkiness as the supposedly - comic romantic subplot that sees sidekick characters, played by Whannell and Angus Sampson, hitting on a couple of much younger women.

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

A substantial part of the mercifully brief 82 minute running time is taken up by a subplot of personal redemption involving characters played by Woody Harrelson and the wonderful Maura Tierney.

While the key to the episode is a huge Griffin Muppet animated, in part, by Henson's son Brian, the humour of its spoiled prissiness is offset by a melancholy subplot involving a doomed ferryman played with convincing dourness by veteran character actor Robert Eddison.

Although the overarching plot involves the conquest of Thor's native Asgard by Hela, the goddess of death, Thor actually spends the bulk of the film in a comic subplot involving a gladiator planet ruled by an alien overlord played by Jeff Goldblum at his Goldblummiest: equal parts twitchy, smug, and louche.

The film often points out that it knows some of this is silly, but that it also knows the audience will just love being part of the return of some of the characters and subplots.

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!

A big aspect of the film relies too much on a random coincidence which is always a pet peeve of mine, leading to a subplot that could have been removed without any narrative consequence, but at the same time it's this part of The Drop that gives it a tender heart which allows for a deeper emotional meaning.

God's Pocket wants to be from the same school of dark comedy that the likes of the Coen Brothers or Spike Jonze do so well but Slattery can't pinpoint a focus on a film that is filled with too many subplots and bit part players that just don't get enough to do in the picture.

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.

True, the whole romance angle isn't there, but it's kind of added in later by the Preminger / Wallach versions, both of whom have a romantic subplot as part of their stories.

Part of the blame is on the Coen Brothers» writing, because the script feels like a solid first draft that still needed rewrites to conclude which subplots should remain in the final cut.

A subplot involving a police investigation is the weakest part of the film, but regardless, We Are Who We Are remains an impressive debut.

There's also a fairly needless subplot involving a TSA agent, played by LilRel Howery, who dual - functions as an exposition delivery system and a tension - breaking comic - relief sidekick; it's the only part of the movie that betrays Peele's sketch - comedy roots, plainly visible in his script for last year's Keanu.

With the ensemble cast growing — even more from the first film — my one complaint lies in the fact that some characters are shoved aside for a large part of the flick, with only minimal subplots.

A subplot involving a duo of vicious schoolgirls who want to kill Joe because he caught them stealing candy is incredibly stupid, while the so - called «murder tourists» — foreigners who have traveled to the U.S. on Purge Night to take part in the annual event — are visually striking in their twisted American history getups (the light - up Lady Liberty is the standout) but aren't given enough time to truly make a mark.

Subplots about the Turks recruited to help rebuild Berlin and the ignored danger to women in all parts of the city add complexity to an already difficult, seldom written about time in the world's history.

If you have subplots going nowhere, scenes that advance nothing or characters that fail to come alive; if parts of your story are told in the wrong sequence, you've begun it too early or dragged on the ending too long: a structural editor will pick that up.

Whether it's the main plot or a subplot, I can guarantee it's almost always my favorite part of any given book.

In two of the best works here — Fight in an Elevator, which looks part Harlem Renaissance and part Who Framed Roger Rabbit, and the square - looking but not - square Slow Motion Shower — Schutz forces two of painting's major formal subplots to the fore.