Sentences with phrase «age comedy not»

British actor / comedian Ayoade (The IT Crowd) impressed with his 2011 directorial debut Submarine, a quirky coming - of - age comedy not unlike the work of Wes Anderson but different enough to stake out its own ground.

Not exact matches

You simply couldn't script this whole mess, its like an Ealing comedy of a bygone age, where a bureaucratic nightmare of such proportions should surely only exist in fiction unfortunately the African continent has to contend with as a nightmare of a reality.

I don't know if The Hangover will age as poorly as many comedies do,

Like everyone else in the movie, Alice has to grow up in her own way, and while «Mike and Dave Need Wedding Dates» may not be a particularly convincing or memorable portrait of maturation, the fact that Kendrick's character even has an arc is enough to make you believe that bro comedies are finally coming of age.

From actress turned writer / director Marielle Heller (A Walk Among Tombstones) comes the latest new - age, post-modern, feminist movement film that doesn't accomplish much more than Aubrey Plaza did with raunchy comedy The To - Do List.

It's also pretty clearly influenced by such wry post coming - of - age comedies as «Diner,» «The Big Chill» and, believe it not, Gene Kelly and Stanley Donen's great 1955 noir musical, «It's Always Fair Weather.»

But their subsequent interactions are not the amusing fumbles of coming - of - age comedies.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

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It's consequently not difficult to see why Election is now considered a classic high school comedy, although the presence of several decidedly adult themes (ie lesbianism, adultery, etc) ensures that viewers over a certain age will probably get a whole lot more out of the film than teens.

Also new: coming - of - age high school comedy Dude (2018, not rated) with Lucy Hale and Alexandra Shipp and romantic drama Porto (2016, not rated, with subtitles) featuring Anton Yelchin in one of his final performances.

The Blu - ray exclusive documentary makes up slightly for the abysmal quality of Shrek the Third, so for the most part it's worth buying if you're kids are still of the age where they appreciate the Shrek films, because any parent knows the films have plenty of comedy the kids won't understand until they're older.

Although the gore quotient may not be quite as high as some have suggested (though most viewers may want to skip the concession stand), this film otherwise not only lives up to all the advanced hype but exceeds it with a bold and startling original coming - of - age story that combines jet - black (and oftentimes deep red) comedy.

Other clips included scenes from Prometheus, Abraham Lincoln: Vampire Hunter, Diary of A Wimpy Kid: Dog Days, Ice Age: Continental Drift, Won't Back Down, Taken 2 and a family comedy, Parental Guidance starring Billy Crystal, Bette Midler and Marisa Tomei, which is scheduled to open on Christmas.

As a sucker for coming - of - age comedies, writers / directors Nat Faxon and Jim Rash's The Way, Way Back (Matt's Sundance review here) is one that I can't wait to see.

However, what he hadn't quite done is go the distance into shamefully trite family comedies for all ages, especially one so lame, so the snickers turned into guffaws at Arnold's expense, to the detriment to his once vaunted status as the world's biggest action box office attraction.

(Unrated) Coming - of - age comedy about the sexual awakenings of a 15 year - old girl (Helene Bergsholm) with raging hormones who fantasizes not only about the classmate (Matias Myren) she has a crush on but about practically every guy she encounters.

I was expecting the intricately - designed, always - paying - off - and - paying - back screenplay, and the astonishingly good fight sequences, but I wasn't expecting a final product that was so profoundly sad, a raucous, but melancholy sci - fi action - comedy about addiction, friendship, aging, the way that You Can't Go Home Again, and humanity's inalienable right to be fucking awful.

The 42nd Toronto film festival was notable for its strong showing of female talent — not least an endearing coming - of - age comedy directed by Greta Gerwig

That rather sad fact, which is not uncommon, is one of the reasons that Johnson and Koch are proud that a festival run primarily by women regularly includes films with women directors — seven this year, including «Toni Erdmann» — along with features that focus on female characters such as «Jackie,» Kelly Reinhardt's «Certain Women» and Kelly Fremon Craig's coming - of - age comedy «The Edge of Seventeen.»

And no, this is not a biopic of former First Lady «Lady Bird» Johnson, but rather an offbeat, coming - of - age comedy that, in the wrong hands, could've been quite ordinary.

Modern teenage life is affectionately and unflinchingly portrayed in all its glory and horror in «The Edge of Seventeen,» a refreshingly frank coming of age comedy that isn't afraid to showcase the rough edges of both teen life and of teenagers themselves.

Dark Horse is the anti-40-Year-Old Virgin, a pitch - dark comedy about an emotionally stunted middle - aged man whose immaturity and stubborn unwillingness to evolve aren't the least bit charming, but who remains strangely sympathetic all the same.

But while the main premise of «The Intern» doesn't sound very promising, the trailers for the movie reveal a softer, more emotional side that suggests there may be more to it than a silly comedy about an old guy working for someone half his age.

A couple of the golfing scenes aren't as sharp as others, but most are immaculate and unexpectedly vibrant for a low - budget comedy of this age.

A comic - book geek who decides to don a scuba - suit and start rectifying society's wrongs, Kick - Ass is the Michael Cera role in a tween coming - of - age sex comedy whose eyes — whose aren't?

While the film might sound depressing, it is actually a very funny comedy that happens to deal with such cold, hard realities as familial difficulties, the physical and mental deterioration of aging, and the morass of realizing that one hasn't lived the life one expected or desired — maybe even realizing one was never certain of what kind of life that might have been in the first place.

When: October 24th Why: I was originally going to write about Lynn Shelton's sweet coming - of - age comedy «Laggies,» but after hearing so many great things about «John Wick» after its debut at this year's Fantastic Fest, it seemed crazy not to highlight that film instead.

What follows however, isn't really effective as a comedy about middle - aged men taking stock of their lives.

Actually, as I point out right in the beginning of our conversation, Odenkirk didn't set out to be an actor at all, but instead was smitten at a young age with comedy writing.

«The Way, Way Back» is the summer's best comedy so far (if you don't count the unintentional laughs for «The Long Ranger»), a coming - of - age tale that believes you can change a kid's life forever in just a single summer.

There are also plenty of times where jokes fall flat and never quite work, but that's just what you get with substandard writing for a formulaic comedy that's not meant to be anything more than week - old counter-programming to «Avengers: Age of Ultron.»

Best Performance by an Actress in a Motion Picture - Musical or Comedy (Lady Bird) Already nominated for three Golden Globes at the age of just 23, Saoirse Ronan isn't merely one of her generation»

However, for those too young or not as Disney crazy, it is still fine family entertainment, and it also works as a good romantic comedy date movie fit for all ages.

Half the movie wants to be raunchy, slapstick humor, and half the movie wants to be a dark not - comedy about what happens after you realize your dream at age twenty.

Either way, this proto - screwball comedy is worth a good look because everyone involved is at the top of their game and though it is not any masterpiece, it is fine for what it is and holds up incredibly well for its age.

Evan Almighty is a comedy for all ages that «you don't want to miss» (Kim Griffis, NBC - TV)!

Army of One's romantic subplot illustrates why King of Comedy was better off not being weighed down by a half hour of scenes featuring Rupert Pupkin's arbitrary love interest (played by, I du n no, Maria Conchita Alonso) about how, as a woman of a certain age who's been banged around by life a bit, she's lucky to have a good - hearted, if someone eccentric ambitious young show business striver like Pupkin in her life.

Though not a family film in the «Ice Age 3» sense, the new comedy «Adult Beginners» has a familial vibe.

WHY: Whether he's making poetic coming - of - age films or pot - fueled buddy comedies, David Gordon Green hasn't allowed himself to be confined to a certain genre, although he does seem to have an affinity for the kind of naturalistic, salt - of - the - earth dramas that he's returned to in recent years, including his latest movie, «Manglehorn.»

But the film has aged remarkably well over twenty years, perhaps because it was even something of a throwback at the time: the imprint of conversation - driven French auteurs like Eric Rohmer is borne proudly by this sharp, sexy and nastily funny comedy of manners, whose dialogue crackles with such cutting truth and wit one wonders why Soderbergh doesn't write more these days.

There's a stubbornness to the comedic approach, with writing that hasn't aged with the Broken Lizard comedy group actors.

Allen's Jazz Age backstage comedy is animated by a trio of inspired creations: Jennifer Tilly's ditsy gun moll turned theatrical terror; Dianne Wiest's imperious diva («Don't speak!»)

I can't believe I'm about to say this, but Jamie Foxx and Martin Lawrence are teaming up for a comedy that will mean absolutely nothing to anyone over the age of 15.

When I first watched this movie at the age of 17, I fell into a small category of young people who didn't mind weighty true story movies, but also spent his time watching comedies about teens losing their virginity.

At his age, shouldn't he be doing Romantic Comedies or Dramas?

Anderson has created a stoner comedy for the modern age, smart enough to know what it is but not so pretentious that it hides what sense of humor it has.

So essentially not only does Anderson create a country here, he creates a parallel, but slightly crazy - mirror version of history too, all delivered through the prism of Golden Age Hollywood comedies — we truly can not fault his ambition.

If I had a sole complaint, it's that the story rides a thin line along the coming - of - age dramedy and all - out comedy, not quite sure what it wants to be.

«The Way, Way Back» doesn't have enough emotional punch to be an awards contender, but in a summer filled with big budget blockbusters, leave it to a quaint coming - of - age comedy to stand out as the best of the season.