Sentences with phrase «subplot where»

Speaking of Gloria, there is a funny subplot where Phil Dunphy (the husband of Jay's daughter, Claire) has a bit of a crush on Gloria.

A subplot where Hit Girl is ostracized by some classmates and exacts a nasty revenge seems like a dry run for Moretz's performance in the upcoming Carrie remake; elsewhere, the filmmakers borrow from virtually every comic - book movie ever made while retaining a smug sense of superiority toward the genre (one throwaway line mocks Stan Lee fan boys).

Steve Carell's Brick is expanded into a bigger role and actually given a subplot where he falls in love with the female version of Brick in fellow co-worker Chani (Wiig).

Another has an anti-Kafkaesque subplot where a handsome man commits a rape and is unable to get punished.

There's one subplot where a character's life is threatened by a band of angry villagers, but their exact motivation to kill him is never articulated.

But the picture is also funny; a subplot where Alexandra tries to get people to attend her performance at a quiet club is paid off with a genuinely well - timed, melancholic rim - shot.

There's also a subplot where Clare's boyfriend becomes a psycho stalker thanks to a backfired wish.

The trappings of family occupy subplots where his eldest son Robert (Joseph Gordon - Levitt) rages to enlist — his father wants to shield him even as he sacrifices countless unknown sons — and his unstable wife Mary (Sally Field) exhausts him with her headaches and heartbreak, even as she turns a Rottweiler's frown upon her husband's opponents.

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 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.

Subplots such as Fred's troubles with his girlfriend, Willy (Higgins (Evan Almighty) playing Santa's right - hand elf) trying to get together with a lovely fellow helper (Banks, Invincible), Fred's friendship with a precocious African - American orphan (Thompson), and the unendurable dysfunctional family squabbles only add to the feeling that the script by Dan Fogelman (Cars) started with a kernel of inspiration and little knowledge of where to go with it once it is set up.

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.

However, the subplot involving DeHaan fails pretty hard, to the point where it is just utter nonsense.

Where the film errs is in introducing the action spy flick elements, which is too prevalent to even call a subplot, as it gets the most amount of screen time.

There was a subplot involving the bar where everyone hung out.

I mean, for all the lip service the picture plays to a more liberal worldview, what with its woman doctors, massaging of the nobility of the «Third World,» and punishing jerks with fifteen - hundred dollar raincoats, there's a disturbing moment where, preparing to run from a tidal wave, the main white hero Sam grabs his white love interest (Emmy Rossum), the white hero's romantic subplot's white rival grabs a black peer, and the black homeless comic relief grabs his dog.

The movie is also mind - numbingly slow at times, weighed down by subplots that go nowhere and entire scenes where nothing happens.

And he winds up being convinced to go for a ride on the Spatterbox, the yacht of a well - to - do blowhard, with Danny, where they endure a number of close calls (depicted unconvincingly with rear projection scenery) before getting lost at sea, a subplot with all the drama of an «ALF» episode.

Dorothy is still less a character than a supporting player to Edgars subplot but the moment where he imposes himself upon her when she asks him if he can just change medications was an upsetting moment for a character typically percieved as the most gentle, good natured of the bunch of assholes on the show.

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.

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.

The film starts off clumsily, a scene in a music shop where Richard (Efron) meets Gretta (Zoe Kazan) features stilted dialogue and an uncomfortably obvious telegraphing of a romantic subplot (though it would turn out to be more of a structural hallmark).

It goes for it to the point the narrative has two or three major shifts where previous subplots just get dropped.

Where Splash falls down a little is mostly in the finale, but also in a subplot about refugees from Tunisia pouring into Pantelleria.

Wyatt adds a neat subplot, where Franco cares for a father, suffering from Alzheimer's, so we can see the personal stake in it for him.

Along the way, there is always an interjected subplot of having a love interest, where the couple initially seems to revel in bliss as if nothing could tear their bond apart.

The film is divided into three subplots: Aragorn (Viggo Mortensen), Legolas (Orlando Bloom) and Gimli (John Rhys - Davies) continue their hunt of the nasty Uru - kai tribes in their search to rescue Merry and Pippin (Dominic Monaghan and Billy Boyd) from the Orcs who kidnapped them in the closing moments of «Fellowship»; Merry and Pippin meet a new friend in their quest to regroup with their comrades; and Sam (Sean Astin) stands by Frodo's (Elijah Wood) side in their burdensome journey to Mordor, where they meet the treacherous yet helpful Gollum along the way.

There is an awkward, completely superfluous framing story, where a mysterious older woman (Jeanne Moreau) tells the story to the Grimm Brothers; and a subplot involving a sleazy nobleman (Richard O'Brien) with a jones for Danielle is poorly developed.

The theatrical cut of «Desolation» felt rather rushed all the way up to when Bilbo springs the Dwarves from the dungeon; not so in the extended cut, where we also get to know more about Beorn, and the Thráin (Thorin's long - missing father) subplot is also resolved.

Each subplot is rather perfunctory, but it's lovely to see a film where older women are wined, dined and courted by somewhat younger men.

In place of Begin Again's insufferably starry - eyed music - industry idealism (where the big innovation that gets record producer Mark Ruffalo jazzed up is selling an album for a pittance and spending nothing on promotion), Sing Street features characters who don't really know what they're doing, to results both hilarious — check out their music video costuming — and poignant, as with Jack Reynor's older - brother subplot.

Where the film fails is in the subplots of the first and third acts.

A subplot running through the novel is how Chromes are broadcast live on TV 24/7, which seems an extension of a culture obsessed with reality TV, a culture where the notion of Big Brother is fully and openly embraced.

And worse, I was stuck in the amputated chapter where the sister's subplot began.

Then even after the movie is made it is edited, where entire scenes, subplots and even characters are completely removed.

I ADORED Leviathan — that trilogy was one of the few where I've actually cared about the romance as anything more than a subplot, mainly because it was so gradual and creeping and wonderful Scott Westerfeld is a brilliant world builder and every time I try and write steampunk, I just sit there going, «I'll never be as good as this... sigh.»

Johnson's metathriller, spiked with gory intrigues and romantic subplots, is a ripping piece of fiction that is also an astute commentary on the nature of freedom, sacrifice, and glory in a world where everyone's «a survivor who has nothing to live for.»

Paying close attention to the plots, subplots, and grand arcs of the franchise gave me the ability to eagle - eye in on the places where it fumbles, mismanaged itself, or seemed to give up in frustration.

There's another subplot involving Kodiak that comes across as actually be rather pointless, and more than a little coincidental, especially considering the fact that very Elite which harmed Kodiak just so happened to get posted to a mission where the two have to work together, too.

These subplots are where gamers see the relationships between characters blossom.

Regardless of where Paz's subplot was meant to be placed, the concept behind Venom needing to accept her death through hallucinations he's been having is an important one that ties into Ground Zeroes in a big way.

Regardless of where Paz's subplot was meant to be placed, the concept behind Venom needing to accept her death through hallucinations he's been having is an important one that ties into

I suspect there will be a number of subplots, twists and turns along the way but this is the outline of where the game stems from.