Sentences with phrase «subplot between»

Aside from a forced romantic subplot between Thurgood and the staunchly anti-drug Mary Jane (Rachel True), the above is all Half Baked has in the way of plot.

Those «feelings» she refers to includes the dangling romantic subplot between Black Widow and Bruce Banner (last seen in Avengers: Age of Ultron and referenced most recently in Thor: Ragnarok), as well as Cap and Widow's ongoing conflict with Tony Stark (Robert Downey Jr.) since Civil War.

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.

Additionally, the romance subplot between Chiwetel Ejiofor and Nicole Kidman never really goes anywhere; it's an unnecessary distraction that doesn't further the main storyline or add much to the development of their characters.

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).

But while a good film, Cider is far from the great one Miramax and director Lasse Hallström were hoping it would be, marred by an unconvincing romantic subplot between Homer and Candy.

Screenwriter Caspian Tredwell - Owen and director Martin Campbell must have realized that their preachy scenario did not engage on any kind of emotional or storytelling level, and so they tried to shoehorn in a romantic subplot between Sarah and Nick.

Throw in an unnecessary romantic subplot between the chemistry - free Tatum, and Kunis, the story suffers greatly from thin characters.

The same can be said about the subplot between Russell and his ex-wife (Zoe Saldana)-- save for a brief moment later in the film.

Primary in that regard, I definitely disliked the romantic subplot between Frank and Laura.

Most of the film plays like your typical fish - out - of - water story before switching focus to the romantic subplot between Alan and Zahara in the final act, but while it's an interesting development that explores the difficulties of such a relationship in Saudi Arabia, it feels so rushed that Tykwer is unable to give it the attention it deserves.

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.

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.

There's a contrived romantic subplot between Timberlake and Arterton's characters.

The romantic subplot between Gamora and Star - Lord is somewhat undercooked, but all of the above made me root for it in spite of myself, if only because it would be legitimately interesting - and for this genre, (nearly) ground - breaking - to see them pair off, procreate, and be faced with a half - pink / half - green baby of their own, with whom to (hopefully) do slightly better than Ego and Thanos did with them.

-- There's a minor romantic subplot between Star - Lord and Gamora following the seeds planted in the first movie

There's a subplot between Osment and Rodriguez that is incredibly peculair mostly because There's also a cameo that has perhaps been spoiled for many at this point, so I will only say that though his character doesn't always fit in with the rest of the film's tone, his performance is the best comedic element of the film.

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.

Thankfully, this does NOT involve a romantic subplot between the two of them.

The romance subplot between Barry and Jessica was also hollow for me.

As you can tell, it's overstuffed with far too many characters and subplots between the two cities and how they intersect.

Not exact matches

The feud between O'Neal and fellow superstar Kobe Bryant; the presumed lame - duck status of coach Phil Jackson, whose contract negotiations with team owner Jerry Buss, the father of his Significant Other, are on hold; the frustrations of Hall of Fame rentals Malone and Gary Payton — all have made for compelling subplots but not always compelling hoops.

Others see a sexist subplot to the partnership between Republicans and the breakaway Democrats, one that has denied Andrea Stewart - Cousins, leader of the mainstream Senate Democrats, the title of Senate majority leader, and a role in the behind - the - scenes deal making now conducted by the so - called four men in a room.

to the burgeoning relationship between Mary and Jim, a touch of Miracle on 34th Street to the George subplot, and the idea of a band of women taking a stand against oppressors has been rehearsed in the West End as recently as last year's short - lived musical staging of Made in Dagenham.

All things considered, it is a well - wrought piece of entertainment, confidently paced, although its necessary subplots are little more than dutiful filler sandwiched between fight sequences.

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 Crash fumbles between bad diatribe and bad domestic drama, complete with subplots about absent parents and childhood cancer.

Plus, the subplot of the missing pooch got muddied within the storytelling or it tried too hard to be a metaphor for the loss of a connection between humans especially when someone isn't paying attention.

Its closing moments, too, are breathtaking — between revamped costumes and a well - executed subplot.

The conflict between comedy and what should have been a serious subplot, simply didn't mesh.

The talent speaks many a metaphor between Alexander and Achilles and Hercules, along with Achilles and his lover, Patroclus (AN: a subplot which was amended in this year's other sword and sandals epic, Troy, making the lovers «cousins» instead), represented in Alexander in the form of Hephaistion (Leto), Alexander's most trusted friend (lover?).

The busy camera work also occasionally gets in the way of the Paris - set final act, where the narrative sprouts a raft of subplots: a love triangle between Cosette, Marius and Éponine; Javert still chasing Valjean; and finally, the plucky little revolutionary urchin, Gavroche (Daniel Huttlestone), facing the military cannons to sing of hopes for the future.

But this time out, Gore Verbinski «s last go - round, it seemed the only way they could cram in more Sparrow was to include a hallucination subplot in which we get multiple Sparrows talking to each other — the film abandoning even the pretense of interest in the bland, chemistry - free romance between Keira Knightley and Orlando Bloom.

With an A-list roster packed to the rafters and plenty of skipping around between various subplots, collateral damage is inevitable.

Though the movie has more than its share of memorable scenes (from the brainwashing flashbacks, to Frank Sinatra doing karate, to Angela Lansbury's third - act soliloquy), there's too much dead space in between, including a superfluous subplot with Janet Leigh (who curiously gets third billing) that could have been cut entirely.

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.

Sure, it's to bridge a connection and unity between their opposing viewpoints so that Lyndon B. Johnson's staunch pushing of the Civil Rights Act feels in character for someone that previously toed the line of racism (he has a friendly association with an openly bigoted US Senator played by Richard Jenkins in a subplot without much engaging drama or consequence), but it also isn't a good enough defense for formulaic and conventional filmmaking.

The ancillary subplots aren't nearly as interesting this time around (particularly the stuff between Michael Kelly's Chief of Staff and Rachel Brosnahan's reformed call girl), and even the main story feels a bit stretched at times with the constant back and forth between Underwood and Raymond Tusk, but there's rarely a dull moment thanks to the excellent writing and performances.

Of course, a romantic subplot starts between Mike and Brooke but it never really takes off.

I was also a big fan of a romantic subplot (a complete invention of the filmmakers) between an elf and a dwarf.

It simply seems to believe that the characters» most identifiable traits, a subplot about Bernard's grandfather (played by Bruce Dern) falling in love, the growing admiration and affection between the teens, and a story about politics that has nothing to say about politics will be enough.

There's a subplot involving Lady Bird's closeted boyfriend Danny (a terrific Lucas Hedges) who's torn between his identity and family, which is devastating.

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

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.

On the other side of the coin, there is an entire subplot devoted to Brad's fertility, along with a payoff involving the comparison between Brad and Dusty's testicles by a fertility doctor (Bobby Cannavale), and a whole sequence at an NBA basketball game where Brad gets drunk and makes a complete fool of himself falls flat.

Far more involving — and upstaging the central action — is a subplot following the unlikely but inevitable romance between Preston's acerbic best friend (the delightful Lauren Ambrose) and white homeboy Kenny (a hilarious Seth Green), who find themselves locked in a bathroom together.

The relationship of this film, between Jamal and Anna Paquin's Claire Spence, is merely a subplot — kind of an also - ran relationship to the Forrester / Jamal relationship.

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.

There's an actual tenderness that develops between Tyler and Bomer, though their shared scenes create an altogether different kind of energy from the other characters, as if indeed this was the episode of some cheesy television series whirring back and forth between the banal subplots of its human characters.

Despite the jump back - and - forths between real world and Marty's screenplay, the film remains remarkably focused with as many subplots as it has going on.