Sentences with phrase «subplots feels»

And yet somehow, none of its many subplots feels shortchanged; James Spader's Ultron is a truly creepy, unpredictable foe; and it's still a pleasure to see the gang united.

The Gnomeo and Juliet subplot feels rushed and foolishly resolved.

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.

Benicio Del Toro, the other big addition to the cast alongside Dern, gets to play a kooky side role, but his entire subplot feels like it's doing little more than marking time, making the film drag every time it returns to him from other, more exciting prospects.

Not exact matches

Their subplot was melodramatic and didn't feel like it worked with the rest of the film.

His unlikely recovery would also be a feel - good subplot for Nigeria as they attempt to write another chapter in their Mundial history.

... the various subplots never really arc, feeling more like stitched - together snippets from»80s sitcoms.

There are subplots with Martha's roommate, whom hates this «Mr. Right» guy, which never get's resolved, and I felt it needed to be, as they were best friends after all.

That makes a subplot tacked on to put Anastasia and others in peril — the seeds of which were planted in the last film — feel all the more strained and absurd.

A subplot involving his adopted daughter Gamora (Zoë Saldana), whom he kidnaps away from her Guardians of the Galaxy cohorts, labours to give him depth, but you feel the effort, and these are the stodgiest scenes.

«Packed with new tidbits, muddy motivations, and unresolved subplots, «A Gettysburg Address» feels like a ramping - up episode, intended to propel Homeland toward its season - two finale.»

Both Violet and her sister Suzie (Alison Brie) are funny, flawed, believable characters, even if the subplot of Suzie's shotgun marriage to Tom's best friend Alex (Chris Pratt) feels like an underwritten foil for the main couple's story.

A subplot about Lincoln's oldest son's (Joseph Gordon - Levitt) determination to serve in the Army feels like a superfluous distraction, while attempts to address the president's complex relationship with his wife, Mary (Sally Field), never quite approach the thoughtful depth and detail of the political maneuvering.

More often than not, I felt suffocated by the gaseous sentimentality and lightheadedness of a story that drops in subplots that it can't begin to develop.

Now each of these subplots do make sense within the overall plot of the movie, but it felt like there wasn't enough to go with, so the writers filled in with fluff.

Subplots involving Mapes» troubled relationship with her father, though potentially intriguing and are likely given more justice in the memoir, feel extraneous without much real payoff in the finished picture.

What makes the movie feel slightly all over the place is its plethora of subplots.

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.

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.

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.

Music factors into the romantic fragments of Creed's subplot in interesting ways, and if Ludwig Goransson's score feels as comfortable as the narrative formula, a steady, throbbing hum apparent each time Creed and Bianca interact succeeds in creating a fitting tone.

That's interesting, I suppose, but the murder subplot never doesn't feel like a gratuitous «hook» in a show blessed with such a unique and potent milieu, and it paves the way for more gangster shit from a former writer of «The Sopranos» (Winter) who apparently can't leave that series behind.2

There are numerous instances like this, such as the insistent neighbor in need of a dog - sitter that feels like a subplot or the fact that film conveniently takes place on Chahārshanbe - Sūri / Wednesday Feast, a holiday dating back a few centuries that both celebrates the oncoming of Spring and is a ritual that promises warmth and good health.

The screenplay by Simon Beaufoy (Slumdog Millionaire) is close to perfect in the way it relays the story of the match of the film's title, finding a way to juggle a number of subplots to tell a cohesive story that doesn't feel like a typical biopic.

Also in contention must be Fremon Craig's script, which plays to the teen audience with recognisable moments of anguish and glee (the romance subplot involving Hayden Szeto's American / Korean student feels both fresh and warmly familiar) while exploring some very adult emotions; as with the best of the genre, it is a film about teenagers but not just for teenagers.

Boyega and Tran are perfectly enjoyable, and their subplot isn't a complete waste of time, but you start to feel the length of The Last Jedi when it veers off with them, and Finn's arc is a pale echo of Poe's so it's not like much is being accomplished.

A major subplot in which Darrel pressures his daughter into a series of underground cage fights feels glaringly contrived (and wildly unnecessary) in the context of a no - holds - barred coming - of - age drama that doesn't really need to cheat.

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 two chums return for optional commentary over six deleted scenes, many of which constitute a subplot that paints Angie as a victim of abuse — something that «felt didactic» according to Affleck.

Every step in the plotline feels standard and canned, especially a subplot shoehorned in about Naomi being an aspiring children's book author.

There are events that have been moved around and subplots axed, but in the long run, the script feels more economic.

Moody subplots about anti-witch factions and powerful muggle politicians feel so disjointed from the thrust of Scamander's story that they're nearly forgotten before they jut back into the finale.

A subplot involving Quill's old space - pirate buddies brings Sylvester Stallone into the fold as a veteran Ravager, making the picture feel even more like a classic adventure.

It grumbles along for what feels like forever, jinking from subplot to subplot, until two shatteringly expensive - looking fights happen back to back, and the whole thing crunches to a halt.

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.

Each of them have their own little journey that mingles beautifully with everyone else's, leaving you satisfied with just about every one of the arcs — with the exception of a somewhat misjudged subplot involving Juliette Lewis» Karen and what her fiancee (Dermot Mulroney) might really be up to — and never feeling short - changed in any way.

There's also a subplot involving Harry Treadaway and Amanda Seyfried as a small - time dealer and his pushover girlfriend who take a criminal errand to Mexico City that feels fully disposable.

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.

There's a subplot involving a young student named Keaton (Samantha Boscarino), who can't feel God's presence anymore.

The extortion subplot involving Ansel's manager and Lance Reddick's shadowy menace (playing a mysterious figure in the way only he can) may be a necessary evil to motivate Ansel toward taking on the family as clients, but in practice it is such a half - baked flimsy concept that it never evolves beyond plot device status, feeling more like manipulation than motivation.

Whilst the pacing never feels sluggish, there is one subplot that could have easily been excised.

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.

Dolan goes on to explain that «this «villain» subplot, albeit funny and entertaining, didn't feel like it belonged to the rest of the story, which ended up not being on heroes or their nemesis, bur [sic] rather on childhood, and its dreams.»

Surely this is an element of the overall feeling of detachment from the movie, and the lack of narrative focus drags the front - loaded first act (A subplot involving the identical, bumbling Inspectors Thompson (Simon Pegg and Nick Frost) and a pickpocket (Toby Jones) only provides some stilted comedy; something is off about the physics of this animated world).

The monster - of - the - week unfolds with an intriguing and classy air, thanks to David Duchovny's deadpan skepticism, while Gillian Anderson elevates a subplot involving her mother to emotional heights, but the mixing of supernatural and sentiment isn't as smooth as it needs to be to make this reboot feel like more than a rehash of old territory.

(There's also a romantic subplot involving Max, but aside from some beautiful shots of the two doing yoga in front of a wheat field, it feels nonessential.)

The subplot of David owing $ 80,000 is unneeded and feels out of place the very few times we come back to it.

Jurassic World succeeds in being really entertaining, but it also becomes inundated with extra characters that really don't add anything to the story and subplots that make the flow of the movie feel convoluted.

Meanwhile, Lightning McQueen (Owen Wilson) is more or less out of the picture, racing against an Eye - talian speedster (John Turturro) in a minor subplot that feels like a toothless riff on Talladega Nights.

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.