Sentences with phrase «romantic subplot which»

Able to weave dialogue at incredible pace with sly smiles that beg for adoration, the relationship between the two is front and centre and easily eclipses a lazy romantic subplot which the writer realises you couldn't care less about.

The problem is exacerbated by the fact that he keeps dropping out of the story completely for long periods of time, only to be awkwardly shunted back into the plot while the film nervously assures us that he really is relevant to this story, and on top of that, there's also an incredibly forced and out - of - place romantic subplot which the film really would have been much better without.

Not exact matches

The same can be said for a minor romantic subplot involving Greg and his girlfriend Amber (Alison Brie), which is very much underdeveloped and doesn't add much to the final product other than a somewhat clichéd angle where Tommy becomes jealous of Greg's new relationship.

The movie, which marks the feature debut of writer - director Kate Barker - Froyland, has the low - key appeal of «Once,» with its extended scenes of music and drama - free romantic subplot.

This is especially true with the romantic subplot created between Kjell Bjarne and Reidun which never reaches any emotional relevance to the audience.

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.

The romantic subplot, which has a lot of prominence in the movie, feels forced and unnecessary at times, which is a shame since Gordon - Levitt and Woodley have great chemistry together.

And soon enough we're back to the explosions, chases, battle sequences, kickin» - ass montages, and pointless romantic subplots that we've come to expect from these movies, the latter of which comes in the form of Phillips's right - hand woman, Peggy Carter (Hayley Atwell).

Softley returns in optional commentary for a 22 - minute block of deleted scenes, which rather fascinatingly reveals that test - screening audiences rejected a romantic subplot between Kate Hudson and Peter Sarsgaard.

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.

The only time the film fumbles is the unnecessary romance with Shane and head cheerleader Annabelle Farrell (Brooke Langton), which feels cheaply tacked on just for the sake of having a romantic subplot.

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.

VanCamp touched on things like whose camp Carter falls under (which you should already know), fighting another Marvel hero, and the possible romantic subplot between Carter and Cap.

Once I realigned my expectations with the reality of the movie, I began to enjoy myself — though there wasn't as much hockey as I'd hoped (more on that in a minute), the romantic subplot, between Doug, and self - professed slut and lover of the violence of hockey, Eva (Alison Pill) captured my interest, not for its sweetness or charm, which it had, but because Eva was quirky, but in a realistic manner.

No one looks at photos anymore, since everything anyone would want or need to know about a person can be obtained from an oral swab (women and men visit a dating booth, where the recently amorous have samples of potential mates tested, and it's where a co-worker (Uma Thurman) tries to find out more about «Jerome,» in the film's clumsy and obligatory romantic subplot), which is helpful.

After a pharmaceutical - and - alcohol - induced bit of airplane class struggle that exemplifies Wiig's ability to ramp up a joke so it doesn't become repetitive (as does a later, extended attempt to have her cop admirer Rhodes (Chris O'Dowd)-- a sweet romantic subplot in which the two have worthwhile conversations and uncontrived issues to resolve — notice her by breaking all sorts of motor vehicle laws in succession), Annie's life, which she already thought had, really hits rock bottom.

On the negative, that would have also made the film lose its only redeemable element, which is Applegate's valiant effort to give an actual performance amid all the inanity of all the slapstick and the tedium of a forced romantic subplot between André and the gardener next door (Tara Reid).

The story of Joshua's search for his missing sons isn't substantial enough to warrant an entire movie, so writers Andrew Knight and Andrew Anastasios have tacked on a romantic subplot between Crowe and Olga Kurylenko's Turkish widow (which doesn't seem right considering Joshua is still mourning the death of his wife), as well as flashbacks of his sons in battle that are incredibly difficult to watch.