Sentences with phrase «subplots at»

Not exact matches

Subplot: will the committee say at any point whether it's thinking of Florida State as a decent win?

One of the subplots lost in the drama at Old Trafford is that of Henrikh Mkhitaryan.

The FedEx Cup Playoffs Kicked Off With a Wild Finish at the Barclays, but The Subplot Was the Story

There's a camp subplot that affects Samuels as well: Rumors are rampant that Andy Heck, Washington's insurance policy at left tackle, will retire before the season starts because of persistent back problems.

While it still remains incredibly unrealistic that Messi would ever be purchased at that price, its still a fascinating subplot.

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.

Her position as a talked - about subplot to the saga was duly secured and several grown men went weak at the knees.

While the movie shines at times - it's colourful, beautifully animated and sufficiently fun - the meandering subplots and sporadically funny, pun - fueled dialogue means the mystery quickly wears thin.

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.

It moves along at a pace that doesn't allow viewers to really comprehend what is going on, or become emotionally invested in the various subplots.

It's just as clear, however, that the film's incongruously languid pace stands as an almost insurmountable obstacle virtually from the get - go, as filmmakers Jon Hurwitz and Hayden Schlossberg have employed an episodic structure that becomes more and more problematic as the thin narrative unfolds - with the ongoing emphasis on subplots of a decidedly underwhelming nature (eg Jim's continuing efforts at resisting the advances of a sultry neighbor) compounding the movie's increasingly lackluster atmosphere.

The romantic subplot can get corny at times.

There are the subplots involving more superhero characters than have ever been onscreen at one time — each one with a fanbase that needs tending.

It has a christmas subplot so that was nice too... at this

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.

The good news: there are many twists, turns, subplots and surprises that the coming attractions don't even hint at.

Even as Snooki and «The Situation» are, in the context of the film, held at arm's length (figuring into a second - half subplot, they're often seen only on monitors and television sets), the Farrellys seem to be saying: «Yes, we even have room for these people.»

Thor and Loki, meanwhile — along with the Hulk (Mark Ruffalo), last seen piloting a Quinjet to nowhere in particular at the end of Avengers: Age of Ultron — spend most of the film in what can charitably be called a subplot.

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.

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.

In a subplot that goes nowhere, at least nowhere interesting, Norah, under false pretenses, befriends a woman (Mary Lynn Rajskub) whose mother was a victim in one of the crime scene mop - ups.

This isn't entirely their fault however, since Iscove is constantly cutting away from their story at seemingly random intervals to dabble in subplots involving the couple's flaky and / or freaky roommates (Amanda Detmer and Jason Biggs — the pastry - banger from «American Pie»).

John Rhys - Davies, who at this point might just be showing up on fantasy sets until someone employs him, delivers an Elf King with the perfect level of ponderous self - awareness for someone withholding crucial intel simply to hold back the plot, matched only by James Remar as the king of thieves, a major subplot provider who's suspiciously handsy with his adoptive daughter.

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.

By that do you mean sprawling, and great to look at, with confusing subplots that send some heroes off to chase still yet another object, far away from the main action?

The subplots are a mess however, with Billy's troubled relationship and even more troubled past feeling like after thoughts, which are hardly resolved at all.

The screenplay also stirs in a subplot involving Jean's ageing father (Thibault), who never quite registers as a proper character beyond someone who has remained at the head of his family for at least three generations.

Egoyan's latest even throws in a creepy, non-sequitur-spouting Bruce Greenwood just for good measure, hinting at a subplot that may well have been dropped due to sheer pointlessness.

Though an entire subplot devoted to homosexuals in a film like this is usually cause for trepidation, American Wedding distinguishes itself with a refreshing affection for its gay characters — enough so that a few same - sex smooches are shown without irony, a same - sex dance is left uncommented - upon at the reception of the wedding in question, and a gay character named Bear (Eric Allan Kramer) is allowed to be a key figure in two set - piece gags.

Strangely, director Ward adds a creepy misogynistic tone, with all of these predatory, sleazy men plus camerawork that leers at female anatomy, which leaves the gay subplots feeling almost offensively cursory.

She kicks ass and a romantic subplot is only hinted at, rather than becoming a distraction.

Benford turns out to be something of a wet noodle and the subplot involving a future rift between him and his wife (Sonya Walger) smacks of soap opera plotting at its worst.

It perhaps goes out of its way to resolve some subplots that would have been better left alone, but that didn't matter so much when I was grinning like an idiot at the pure fun of it all.

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 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.

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.

Ted is hobbled by a labored third act and a subplot involving a demented loner played by Giovanni Ribisi that is so ragingly gratuitous, it almost feels like an homage to the famously unnecessary diamond - smuggling subplots of the»80s, but Ted is so consistently, even explosively funny and oddly good - natured throughout that it really doesn't need a plot at all, let alone an even - less - welcome chase scene.

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.

Factoring into the equation is a subplot involving Alexandra trying to get people to attend a show she's putting on at a night club later in the evening — it's Christmas Eve — and an Armenian cabbie (Karren Karagulian) who frequents transgender prostitutes when on the clock, with a wife and child waiting for him back at home.

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.

At the same time, the subplot conveys the pic's essential message: In order to effectively rebuild a foreign culture, America must first understand the values and beliefs of the vanquished people.

«Ted 2» features another subplot in which Donny (Giovanni Ribisi), the creepy dad from the original «Ted,» tries to kidnap the bear at New York Comic - Con to present him to the head of Hasbro (John Carroll Lynch) as the basis for mass production.

Meanwhile, a subplot concerning the possible closing of the town's pencil factory causes more consternation, since both parents are employed at the plant.

Una preserves that central setting, but it also nervously, detrimentally abandons it at every opportunity, breaking up the long - form conversation with flashbacks to the pair's illegal encounters (some staged through the increasingly cliché drop - the - soundtrack - out subliminal blips), relocations throughout the building (and, eventually, outside of it), and a subplot involving layoffs at Ray's job and a co-worker (Riz Ahmed) who gets wedged between the two.

Perhaps it's not even a question of the film having a main plot at all, but rather, multiplying subplots that push up against each other so that you can't separate the one from the other.

While the latter pair offer some laughs at the extent of their creepiness (If a style of dancing could be classified as that of a serial, it would be Donny's), it's unfortunate that the whole subplot brings the whole film to a standard, extended, and poorly paced chase sequence.

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.

Completely understanding I could be in the minority, this confusing and at times frustrating story explores the relationship between Woodrow (Evan Glodell) and Milly (Jessie Wiseman) and they're seemingly beautiful beginning to explosive end, all while falling in and out the subplot of best friend Aiden and his quest along with Woodrow to be as «Mad Max» as possible.