Sentences with phrase «age comedy so»

Lady Bird is something truly special: a coming - of - age comedy so funny, perceptive, and truthful that it makes most other films about adolescence look like little more than lessons in cliché.

Not exact matches

And so, from these wonderfully disparate influences we have «Kings Of Summer,» a crockpot of comedy and coming - of - age film without a trace of irony.

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.

Everyone has their own coming - of - age experience, so when these movies are done well and told with truth and honesty — and a little comedy — they sing.

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.

Why is it that comedies about middle - aged men regressing to their childhood so rarely, if ever, work?

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.

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.

INDEPENDENT & FOREIGN FILMS 0s & 1s (Unrated) Digital Age comedy about a yuppie (Morgan Krantz) who's so dependent on his computer that his life starts to come apart at the seams when he discovers after a night of partying that someone has stolen his laptop.

Love is often about second chances: Alexander Payne's middle - age comedy has a beauty of a flirtation in Paul Giamatti's courtship of the never - so - radiant Virginia Madsen.

Mistress America's generic context as screwball comedy frames Brooke's quarter - life crisis, and Tracy's coming of age, in a manner of unexpected honesty: behind the frenzied dialogue, so keenly written by Gerwig and Noah Baumbach, is the destruction of ambition and the construction of a self.

And so, from these wonderfully disparate influences we have «Toy's House,» a crockpot of comedy and coming - of - age film without a trace of irony.

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.

As familiar as the coming - of - age comedy may seem, «Lady Bird» is filled with so many charming surprises and brilliant performances, most other films of its type feel even more mundane by comparison.

«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.

so it's especially dispiriting to see her strapping on sex toys and making a fool of herself in «Never Again,» a wretched comedy about middle - aged romance from writer - director Eric Schaeffer.

It's part teenage comedy, coming of age, family drama, and character study — yet it's also so much more.

«Hall Pass» is a comedy about two married guys in early middle age who keep ogling and fantasizing about other women, to a degree that has become obvious and ever - so - slightly disgusting to their wives.

The film is exceptionally written — every line of dialogue sounds like something a person might actually say and, as someone who was a high school senior in 2002, it felt so authentic that I thought I was watching a documentary about my generation's coming - of - age instead of a comedy - drama from the co-writer of Frances Ha and Mistress America.

In a rare stroke of luck, as these kids and movies aged, so did their quality — Radcliffe, Grint and Watson are no longer bumbling caricatures (meek victim, comedy relief, and domineering bookworm, respectively), and Order of the Phoenix is actually good enough to be considered on its own as a solid film, instead of needing the umbrella of protection that the Harry Potter ™ franchise provides.

At 90 minutes, the lack of a plot, the derivative coming - of - age story, and the redundant gags wear thin mighty quickly, making this a difficult experience for people in the audience that have already seen the dozen or so animated comedies of a similar nature to come out in 2006 alone.

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.

Hailee Steinfeld is realizing that teenage life has never been so hilarious and heartfelt as it is in her acclaimed coming - of - age comedy - drama, «The Edge of Seventeen.»

Platoon is laughably bad, with horrible acting, narration, dialouge and over use of its score.This film fails at every level, every character is an over the top, cardboard cutout.Every white southerner is a drunken, racist, maniac.Every black soldier is a drug addict or coward, or both.When scenes make you laugh, when its intended to be moving?That's a problem.Full metal jacket is much MUCH more powerful and original.It has a black comedy / horro / thriller / element that has allowed this film to age so beautifully.Platoon's plot, is devoid of any tension.Once one of the 3 main characters die, we KNOW what's going to happen, and it DOES!

The reach of the action / comedy franchise extends beyond all racial, age, and gender barriers, and crosses cultural borders worldwide - which is why there's so much pressure on Feig and company to produce a high quality movie.

Putting this unscientific analysis of digital OD aside, the film selection was not so hot either, although the competition boasted one extraordinary film, Maren Ade's audacious, hilarious Toni Erdmann, a screwball comedy of remarriage in which the twosome is an aging - hippy, prankster father and his corporate - ladder - climbing daughter.