Word: subplot
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Dates: during 2000-2009
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...winner, his committed-soldier routine is very believable, and at times very menacing. This is much more than one can say for any of the other marines, who, for the most part, thankfully get killed off one by one. The movie also makes a ridiculous attempt at a reunion subplot between John and his estranged scientist sister Samantha (played by Rosamund Pike, of secondary Bond girl fame in “Die Another Day” and soon to be Jane Bennett of “Pride & Prejudice?...
...film grasps for salvation in many enjoyable moments, but never regains the momentum of the opening scenes. While Scott’s attempt to get meta with the reality television show subplot is obnoxious, Walken, in typical form, gives a hilarious cameo. The screenplay can be quite strong and very funny, but beats its jokes to death—the career-resuscitating turn from Brian Austen Green of “90210” is constantly greeted with some permutation of: “Is that the guy from 90210? He has not aged well...
...lover of drama, the convoluted love triangle between Walter’s wife, Toni (Rene Russo), Brandon, and Walter should have kept me on the edge of my seat or at least, interested. And yet, more often than not, I found myself checking my watch. The weird sexual subplot between youthful Brandon Lane and middle-aged Toni Abraham is unbelievable and kind of grotesque. As Walter says in the movie to his wife, “I’m like Brandon’s father… I guess that would make you his mother, right, Toni...
...with vividly emotional performances, making “Good Night, and Good Luck” an unusually entertaining civics lesson. Ray Wise gives a particularly nuanced portrayal of the human costs incurred by political witch-hunts, and Robert Downey Jr. and Patricia Clarkson are superb in a bittersweet romantic subplot...
...cheese, evoking the unresolved disquiet that eloquently capped the second season of BBC’s “The Office.” “Were-Rabbit” is more akin to the subsequent “Office Christmas Special,” with the romance subplot concluded in clichéd Hollywood feel-goodery. It might be too much to suggest that there was studio pressure to deliver a happier ending, but it hardly seems a stretch to infer that the pressure of a broader audience nudged the filmmakers in a more cautious direction...