Sentences with phrase «subplots going»

There are a lot of subplots going on and it was good fun to have them all meet up after six months apart.

If you have subplots going nowhere, scenes that advance nothing or characters that fail to come alive; if parts of your story are told in the wrong sequence, you've begun it too early or dragged on the ending too long: a structural editor will pick that up.

Despite it being a snappier paced narrative than its predecessor, there are a few too many subplots going on that act as nothing more than filler (Gandalf's venture with Radagast to Dol Guldur).

But despite the number of subplots going on that include parallels to a particular commander - in - chief, amnesia, and betrayal to name a few, Vaughn and Jane Goldman manage to tell a story that gels just enough to avoid becoming incomprehensible.

McHale, very funny on «The Soup», proves again that acting isn't his thing, and in a Disney animated movie subplot gone horribly wrong, Terry Crews plays a resort entertainer with his own troupe who show - up every five minutes to try to bring the couple closer together.

Meanwhile, pubescent puppy love reaches tomboyish Sarah Baker (Alyson Stoner) and Eliot Murtaugh (Taylor Lautner); as subplots go, Sarah's coming - out is rather sweet, at least until the patriarchs ruin their night out at the movies (oh, the irony!).

I mean, you got ta say, «This whole subplot goes, this whole character goes, this whole beautiful speech goes.»

And has that subplot gone anywhere?

Not exact matches

That continues to be the most important subplot to what UGA is doing on the recruiting trail: getting the best players in the Peach State to go to Athens.

A club that didn't have to go big on potential — that maybe shouldn't have done so — deciding to roll the dice, and in the process delivering to the neutral a fascinating subplot for the season.

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.

However, the film is poorly written and is full of unnecessary subplots that don't go anywhere.

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.

Critics Consensus: The setup is intriguing, but Mr. Brooks overstuffs itself with twists and subplots, becoming more preposterous as it goes along.

Critic Consensus: The setup is intriguing, but Mr. Brooks overstuffs itself with twists and subplots, becoming more preposterous as it goes along.

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.

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.

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.

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.

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.

A subplot about Elektra's dimbulb costar going to Mexico and learning she's a lesbian is equally pointless, and the DICK TRACY primary - color production design is nifty but irrelevant.

Kent has subplots that go nowhere, including a dull romance with Lois Lane (Amy Adams); their highlight is a sensual, albeit pointless bath tub scene that makes Kent look like a horny jackass than a loving boyfriend.

Allen's own subplot (this is his first onscreen appearance since Scoop) about an American opera promoter's discovery that his prospective Italian in - law (real - life tenor Fabio Armiliato) is a talent only when he sings in the shower coasts nicely on its screwball premise and pays off in a funny set - piece that unfortunately goes on well past the punchline.

Upon presenting her novel to the local publicist, he condemns her sequestering the romantic elements that her ilk (other women) should want to read in favor of a horror subplot involving things going bump in the night.

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.

What follows from there, as Erica slowly prods the reasons for Luke's stifled inferiority, involves a revenge subplot that goes horribly wrong, followed by a frantic teenage dash for the border when all hope is lost.

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.

Amidst the adultery and heartbreak there's a subplot about Allen's character going through an existential crisis that allows him to insert his familiar neurotic wit.

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.»

There is too much going on as the film keeps going back and forth between all of its subplots.

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

Once Garant and Lennon's subplot merges with the demonic insanity going on with Corddry and Bibb, along with the introduction of Bibb's free - spirited sister (Lindhome), things reach a zany peak that bring plenty of laughs.

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.

But a distracting subplot about a homophobic, off - his - rocker neighbor simmers distractingly on the margins of the narrative, before giving way to a truly ruinous plot turn — a genre leap so misjudged that all the goodwill Silva has built up until that point goes up in flames.

Worse yet, the main story focuses on two supporting characters from the first film that simply aren't interesting enough to be front and center, while Nia Vardalos and John Corbett languish in the background with a clichéd subplot that goes nowhere.

Ross does sometimes struggle to tell Newton Knight's story in the two - plus - hour narrative — his first wife, Serena, comes and goes in the story — so the brief subplot regarding his great - grandson, Davis Knight, raises some pacing and structural problems.

Odin doesn't cross the line into criminal acts without the injection of a drug abuse subplot that has him going off of the deep end.

The romance subplot is also something that you are either going to find distracting or that it builds up what she goes through as a woman and a soldier.

Any real problems in The Last Jedi stem from the fact that there's just so much going on that it's hard to stay invested in every subplot.

Small things like a subplot involving Ann's absent father, a boy at school infatuated with Ann, and the family car, are milked as far as they can go.

Considering this is a comedy and most comedies suck nowadays, I am not going to spend a lot of time talking about some of the silly subplots that go on in the film.

Adapted from the novel of the same name by Dennis Lahane, Live by Night is massive in scope, containing a number of subplots, locales, and characters to go along with it.

Of course, because none of the subplots and multiple characters carry any weight, this also means that most of the serviceable acting performances (Affleck has rounded up an impressive cast of names including Zoe Saldana, Chris Cooper, Sienna Miller, Bredan Gleeson etc) go to waste.

It works less well when her otherwise convincing on - screen daughter, Ruthie (Stefania Owen), veers off in a brief and rather pointless subplot involving school, peers and drugs that doesn't go anywhere before being wound up almost as quickly as it began.

What waits at the end of the tunnel ties into a subplot involving a Mexican police officer and his young son, but it goes much further into the dark heart of this battle.

Sure, Nicloux often goes a little too far with his deliberate provocation (excessive gore shocks until it just dulls the senses, while in one scene, there's a close - up of a leech - infested penis), and a subplot involving a Vietnamese prostitute isn't quite fleshed out enough beyond being a mere vehicle for Ulliel's feverish temperament, but this is brave, exciting filmmaking, and a fine amuse bouche to Apocalypse Now's meatier take on the same subject matter.

Other subplots freely come and go — the most prominent centers on a stylist (singer Nicki Minaj) coming between married employees (Common and Eve)-- but the twin strengths of the movie remain its amusing asides and, across the field, its civic - minded seriousness.

Even though he's the only one actually committing here, Michael B. Jordan might as well have been phased in from another brand of C - grade rom - com as his super-sized cheesy, level 11 cliché romantic subplot butts heads with the should - be elbow nudging plot line going on with the other fellas.