Sentences with phrase «at humor in the film»

McQuarrie is a frequently collaborator of Tom Cruise's, and I can hear his rewrites at play whenever there's an attempt at humor in the film.

Not exact matches

Of course, he also wants us on the edge of our seats in tense moments and maybe getting a little misty at others, but it's his use of utterly inappropriate humor in such a blatant manner — and to such good effect — that makes his films his films.

It wasn't a problem for me at all with this film, in part because I was pretty much asking for it this time around, but also because that's what helped it stay true and close to the same style of humor from its equally crude source material.

The film chronicles the manner in which Hope and her family handle the nightmarish situation, often with what Saget described as «irreverence and dark humor» (At one point, Hope's brother Alan — a comedy writer — quips that scleroderma sounds like «a deli entrée»).

You could almost imagine the two films, or at least their heroes, figuring in the kind of good - natured, racial - stereotype humor that used to be a staple of stand - up comedy (and was memorably parodied on «The Simpsons»): «white guys abolish slavery like this» (pass constitutional amendment); «but black guys, they abolish slavery like this» (blow up plantation).

Her work in Hartley's films established the blonde, strong - jawed actress as a solid talent with a proclivity for deadpan humor, something she has also exhibited in a variety of film, television, and stage productions including Tom Noonan's What Happened Was..., a darkly humorous date movie that earned Sillas particular praise.A native of Brooklyn, where she was born June 5, 1965, Sillas studied at the acting conservatory at the State University of New York at Purchase.

In the conclusion Berg finally hits that completely over-the-top bad taste bonanza that the film has been working up to, where everyone — and I mean everyone — gets their cosmic justice and Berg finally let's his sniggering little digs at the handicapped kid blossoms into a truly tasteless foray into gimp humor.

Full of humor and humanity, «Nobody Walks» is an emotionally complex, acutely observed and sensual film and in this writer's opinion, one of the best at the festival.

In other hands, a zombie movie is just a zombie movie, but Land of the Dead, a horror film laced with rife with social commentary, political satire, and black humor, is not just a return to the genre he practically single - handedly created (or at least definitively redefined), but a return to form.

Jason Schwartzman is ridiculously funny in Bob Byington «s 7 Chinese Brothers, a film created in the Wild West indie landscape that panders to no one (mainstream audiences will likely balk at the quaint, offbeat humor), but will please crackpot - comedy weirdos (like yours truly) to no end.

Some will find the humor in the film a bit tasteless at times, while the change in tone may turn away those who are expecting another scary film.

When looking for a rush, the source doesn't necessarily matter, as long as it serves that one purpose, and the film succeeds at that, moving along quickly and confidently, with the cast bringing out some intermittent pleasant notes of humor and sadness in the script.

Instead, the humor is created from quirks of the other characters in the film, and not aimed at them.

If last summer's Guardians of the Galaxy is Marvel at its most daring, then Ant - Man is the studio at its safest up until the film's climax when the picture gets refreshingly bizarre and crazy in its humor and visuals.

The film, a satirical look at the Soviet dictator's last days and the chaos of the regime after his death, fits neatly into Iannucci's ongoing study of biting political commentary, situational humor, and a lot of people badgering each other in hallways.

I do think he needs to get better at incorporating humor if he wants his film to be in the same ballpark as Casino Royal and Skyfall.

There isn't much to miss in this mix of extensions and all - out deletions: there is more of the family talent show, a few clear attempts at humor that falter, a variety of small moments between Dan and his daughters, and a small taste of a Dan voiceover that was intended to span the entire film.

Speaking of humor, I get that John Cena is the epitome of masculinity so on paper it might be funny to have him break down crying at specific points throughout the film but man oh man did that joke fall flat on its face in the film.

The same can be said for about 80 % of the gags in the film, which throws the kitchen sink of absurdity at the audience in the hope that we'll follow along and laugh at every random event, regardless of whether true humor value is there or not.

Fabianne Therese and Nichole Bloom are both fantastic in the fresh and exhilarating film, balancing romance, genre thrills, humor, and pathos with considerable skill, and I spoke with the stars about their new movie at the SXSW film festival.

Director / star Jiang Wen has crafted a modern take on the wild Hong Kong action films of the eighties heyday, with all the energy, dotty humor, broad performances, and mad plot twists, and drops himself in the center as the eye of calm at the center of the chaos.

• The Coens have never lacked for confidence, but this was their most confident film to date, a blending of humor and drama that at the time felt daring but in retrospect seems almost obvious.

Much of the film's attempts at humor stem from lip - synching to Motown tunes (a la Hope Floats) and dressing the kids up in costumes at every opportunity.

Radcliffe seems incredible in this film that has a truly twisted sense of humor and an interesting mystery at the center as Radcliffe plays a man trying to figure out who killed his girlfriend (Juno Temple) as he causes chaos in a North Pacific town.

Michael Showalter's film is always at least gut - rumbling and keeps its humor in situations that are morose and awkward.

It does take a while for me to get into the film, Emmet is a little bit annoying in the start, and some of the humor does fall flat but overall it was definitely a really fun time at the theaters.

Although you won't find any nudity or excessive crudeness in the humor, many of the film's attempts at laughs come from situations with strong sexual overtones, so you may not want to watch this until the kids are asleep.

It doesn't matter that nearly all Ben's moments in the film are all strictly by the book, in a strain of gangster humor going back at least to George Raft's insouciant line about his lawyers, «all Harvard men,» in Some Like It Hot.

Long pauses in Harrison's track make it a slog, but at lest Jewison has a sense of humor, occasionally chuckling at the ways the film is now dated even as he stands by its perceptive social commentary.

Screenwriters Roberto Orci, Alex Kurtzman and Damon Lindelof do an admirable job juggling all the characters while working in enough humor to show that science fiction films can be fun, but not at the expense of detracting from the action.

Chris Kattan (A Night at the Roxbury, Corky Romano) arrives late in the film, and provides some of the funnier moments in a rare role that utilizes his skills for physical humor; it's probably his best work yet.

Anderson has worked in a variety of genres — noir, screwball comedy, historical epic, and straight - up relationship drama — but his films always bear his distinctive fingerprints: sharply drawn characters (some of whom are uneasily at odds with the world around them); a sense of humor filtered through dark situations; and a stable of actors with whom he works regularly.

Yes, it's amusing when Thor demands a horse at a pet store in the first film, but for the most part the first two films in the Thor series play it fairly straight, with a few moments of humor peppered in because it's impossible for Chris Hemsworth not to be funny.

Instead, the movie makes use of the earlier films» basic plot device (man turns involuntarily canine at the most inopportune moments) and hauls it into the New Millennium, adding plenty of computer generated effects, throwing in a politically correct storyline about the evils of animal experimentation, and making the humor a little ruder and cruder.

It's only during the rushed final act that the film starts to pull apart at the seams, the rest of it boxed up by the square «Academy» aspect ratio, bound together in Crystel Fournier's Cold War cinematography, and welded shut by the dry heat of Nicchiarelli's humor (which even reduces Nico's rumored anti-semitic streak into a cheap punchline rather than wrestle with it in a meaningful way).

Since the humor of The Office is the kind of sly, nuanced wit that doesn t exactly work well in the context of a two - minute movie trailer, I was holding out hope that the studio simply decided to cram the more obvious Robin Williams schtick into the previews to lure in the people who made cash cows out of such dross as RV and Night at the Museum and that the actual film would be more in the vein of The Office.

Firstly, three decades after its release, the original film still works, thanks to its (at the time) top - of - line special effects, a series of legitimately gruesome scenes (It is strange that the remake, which has the PG - 13 rating its predecessor helped to usher in, never comes close in that respect), and a much - appreciated sense of humor.

A remarkable snapshot of underclass life, love, humor and despair, Position Among the Stars, which picked up the Special World Cinema Documentary Jury Prize at the Sundance Film Festival earlier this year, and recently played at the Los Angeles Film Festival, is an utterly absorbing and strikingly humane nonfiction film that, in non-judgmental nor holier - than - thou fashion, locates the universality of human struggle in charting the tumultuous ups and downs of an extended Indonesian family trying to work their way out of the slums.

In fact, it's a horror film, a dramatic one at that (albeit with humor in it, for sure), and there's a reason for thaIn fact, it's a horror film, a dramatic one at that (albeit with humor in it, for sure), and there's a reason for thain it, for sure), and there's a reason for that.

Credit where credit is due, Rock of Ages stops just shy of having literal monkey shit flung at its audience; although monkey sight gags are in fact a primary source of the film's humor, should we choose to accept that the innumerable moments in which a trained monkey behaves contrary to that of an untrained monkey qualify as humor.

The film, Krasinski said in a statement, «can be at once universal in its themes and uniquely personal in its heart and sense of humor.»

Yet Ozu meets it with hope and humor and fills the film with tender and delicate moments in such seemingly simple scenes as a round - robin of patty - cake with the kids or group sing - song at the teacher's banquet.

Most, if not all, of the film's attempts at humor derive from Red's antics and his wariness of modern life, yet the jokes (always in Duvall's favor) are devoid of feeling and waste thematic conflict on superficial gags.

It's a kind and film that at least tells the important lesson to see humor in life and love the family that you have.

This film was one of our favorites at Sundance in January, and Alex said, «theperformances from the two leads are exceptional and the story pulls viewers in with genuine humor and heart.»

«Louder Than Bombs,» Trier's first English language project and inaugural collaboration with name actors, technically marks his biggest project to date — but this ruminative ensemble piece about a New York family haunted by the legacy of its departed matriarch fits right in with Trier's other films, yielding an alternately wise, melancholic and good - humored look at people surrounded by support but nonetheless alienated by their incapacity to confront their problems.

Bogue has no sense of humor, no wit — nothing that makes him at all interesting (completely unlike Eli Wallach's Calvera in the Sturges film).

There are certainly some heavy themes at work in Alexander Payne's new film, our favorite of his since the similarly toned masterpiece About Schmidt, but as usual, he handles them with homey grace and good humor.

It's one of the only genuine laughs in the film, as most of the humor comes at the expense of its script.

Bas's tempers this kind of carefree humor with a much darker side, of which we only get fleeting glimpses; at one point in the film he mentions that, for many years, he was convinced he would die young.