Sentences with phrase «audiences laugh on»

Wiig, McCarthy, Jones, and McKinnon have all demonstrated the ability to make audiences laugh on multiple occasions, but are about as far from action stars as one could imagine.

Not exact matches

Getting the audience to laugh (or at least crack a smile) early on is a great way to break the ice.

Up on a stage are the contestants, other gay men carry crosses, and exhibiting their naked bodies in the contest, before an audience of thousands who are laughing and cheering.

I laugh every time it comes on... especially when she dead pans the question to the audience «Is he for real?»

«When I do public readings we usually try to get a laugh from the audience early on because it lightens up the atmosphere, and that passage always gets them roaring with laughter.

I see them in audiences on TV talk shows LAUGHING about male infants being needlessly tormented!

But these comedians managed to mix urgent political messages of the liberal left with crafty, irreverent punch - lines that had their audience laughing, often guiltily, at their riffs on the welfare state, immigration and Communist granola.

His audience laughed with Dietl as he described himself as thinking he was indicted for something when he first saw the Daily News front page featuring his photo on Easter Sunday, but they seemed quite familiar with the episode.

Coleman kept his seat on the council as an independent after the incident and was tonight referred to as «the candidate with no description» to laughs from the audience at the Barnet count.

Whether you prefer splashing in the Pacific or hiking the Hollywood hills, window - shopping on Rodeo Drive or belly - laughing in a live studio audience, there is simply no shortage of Los Angeles date ideas.

I've seen gross and dumb comedies that were well written and made me laugh, but somehow You Don't Mess with the Zohan shouldn't «Mess with the Audience» on this horrible movie.

People in an audience heckle and laugh at a man who's performing on stage, and he then threatens them («you'll be sorry»).

For over a decade, sold out audiences have enjoyed Rocky Horror - like participation consisting of hilarious traditions such as screen - shouting, football playing, throwing spoons at the screen, rooting on the shockingly long establishing pans of San Francisco, and generally laughing hysterically at the film's clunky pseudo-Tennessee Williams dialogue, confused performances, and bizarre plot twists, like the mother - in - law character whose breast cancer ought to play like it matters a great deal, but really comes off as a non-sequitur.

Written by Jay Baruchel, he also plays Doug's best friend throughout the film, and while he is just present to make audiences laugh, he does serve the purpose of giving his friend the much needed confidence on the ice.

To the enormous credit of these preternaturally clever writer - directors, the above paragraph contains more low - hanging Lego puns than the movie itself, which relies on ingenuity and genuinely inspired twists on what audiences expect from such an experience to deliver a constant stream of engagement and laughs.

At it's very best — «To Rome With Love «is laugh out loud funny — such as Ginacarlo on stage, in a shower, and singing to a refined opera audience.

Funnyman: Jimmy Kimmel had the audience laughing as he shed some light on the Harvey Weinstein scandal during his monologue

My guest laughed no more than three times and the guy next to me put his hands in his hands on multiple occasions — they are the target audience.

«This Thing Called Love» (1940): TCM host Illeana Douglas admitted that her favorite festival moment was sitting in the audience and listening to fans laugh at Melvin Douglas,» her grandfather and the co-star of this rarely screened comedic gem (which received an encore showing on Sunday).

Firth and Stone are fun despite a notable absence of on - screen chemistry, and although the whole thing occasionally displays the creakiness of an over-orchestrated magic trick, it delivers enough chuckles (if not belly laughs) to keep the matinee audience smiling.

What might have worked as a 10 - minute segment on Funny or Die, is instead unnecessarily given the feature film treatment, hurdling towards a limited release for audiences at theaters where beer is served so they can have an excuse to laugh.

The best way to release tension on film is by making the audience laugh.

There are no laughs (unless you're giddy for automotive puns), no genuine thrills, too much going on of relative unimportance to the audience, and a plethora of guns and ammo going off willy - nilly (the MPAA, asleep at the wheel when it comes to depictions of cartoon violence, bestowed a generous G rating).

It's as if Daley and Goldstein don't quite know what to do at times, so they relied on cheap laughs in an attempt to keep the audience engaged.

Deadpool's breaking of the fourth wall gets the audience even more involved as it is no more about the story that is happening on the screen, we know of his self - aware ways and they make us laugh even more.

These films have been chosen (and ranked) based on how many laughs we think they are likely to generate for the modern audience.

I felt the writers were focusing most on making the audience laugh instead of keeping the story real, to go beyond the gags.

Idiocracy a fun film for those who laugh at, or perhaps lament, the sorry state of our society, where reading is increasingly being deemed by youth culture as passé, popular entertainment has nearly no emphasis on story (Judge portrays films of the future as nothing but shots of bare asses that occasionally fart, which the audience finds consummately entertaining), and people can't speak intelligently without being labeled as uppity snobs.

The show takes cues from the big screen as well: Its absurdist deadpan and quasi-documentary feel (the episodes are shot on handheld camera without a studio audience or laugh track) recall Christopher Guest's improvisational gems.

That showing would not have been marred by audience members laughing much too hard at the occasional tension - slicing moment, talking too much about what is going on, and cheering too hard for the heroes to catch the villains.

Bad Moms is one of the more pushy raunchy comedies you'll likely come across, a film so reliant on using vulgarity as a crutch it has characters drop F - bombs at their children's schools and during PTA meetings because without them, the makers of this film feel like they won't get a laugh from audiences prone to guffaw just because they heard harsh language.

The movie is such a massive decline that it must be some kind of joke on the part of any combination of director Paul Weitz (perhaps a subversive plan to kill a franchise he was not a fan of with his first (and let us hope only) entry), writers John Hamburg and Larry Stuckey (the former, maybe, enjoying steady work with the series after the success of the first movie; the latter possibly assuming he could coast on the coattails of his partner), and / or the cast (if we go with the hypothetical assault on the audience's sense of dignity, no doubt laughing themselves silly at the sight of the paycheck).

Cody's script walks a tight rope between poking fun at hesitant mothers for laughs and offending the very audience «Tully» could have the most impact on.

Brooklynn also went on to thank God, the voters, director Sean Baker, the cast and crew, her family, and, of course, her team — which drew a laugh from the audience — during her thoughtful, enchanting acceptance speech.

The audience simply went nuts in the screening, screaming and cheering on the film's gleeful violence and brutality one moment, then laughing hysterically the next.

As directed by veteran Norman Jewison (Agnes of God, Rollerball), this is an ensemble comedy that relies on good cast chemistry and charm for most of its laughs, and along those lines, the on - screen charisma does make for an enjoyable romantic comedy for most audiences.

Maybe it's because I found myself being so amused at how effectively this laugh - cue extravaganza appeared to work on my fellow audience members.

I always think it makes the movie scarier and more thrilling because it gives the audience a chance to relax and sit back and laugh, and then the genre aspect sneaks up on you again.

With film leads Wes Bentley and Jason Isaacs on hand to support him, first time director Saar Klein happily introduced his film After the Fall Saturday night, immediately telling the audience he wanted them to feel they could laugh, even if it seemed uncomfortable.

From then on, almost every scene has you involuntarily bursting out laughing as Bell knows exactly what the audience finds funny.

The drama starts when Konstantin puts on a heavily symbolic play with Nina to impress his mother, only for her and the rest of the audience to laugh off his self - serious message about the universe, or something.

Instead of feeling like the same thing on a feature film scale, this film was able to take this character and show the audience his personal struggles, while still making a film filled to the brim with uncomfortable laughs.

The best I managed were a couple of smirks, mostly based on situational comedy rather than actual attempts at jokes - but the young couple of 16/17 were laughing their asses off at every fart joke - line, so I guess we know which audience is really captured by the film.

Above all else, the goal was to make an entertaining movie with a little bit of a wink to the audience, let the audience know they can be in on the joke and that they can laugh with us, you know?

He reveals a singular ability to present ethically questionable people and situations without prejudice, letting the audience develop their own opinions while they laugh at the people on the screen and themselves.

One of the most thuddingly unfunny sequences is the «movie - quoting bad cop» opening scene, which the Blu - ray's behind - the - scenes material identifies as a laugh - filled day for cast and crew that didn't translate to any fun for the audience (the lower energy unused opening scene found on the Blu - ray is much funnier in Smith's patented «shooting the shit» style).

There are laugh - worthy moments and the directors wholly embrace the fart jokes, poop gags, and flailing erections — perhaps so much so that it caused some Sundance audience members to walk out on the film.

When Knoxville is on screen, the entire audience laughed their asses off.

C + Tennessee Tuxedo: The Complete Collection Available on DVD The classic 1960's television toon featuring Don Adams as the voice of penguin Tennessee Tuxedo who wanders the zoo with his walrus pal Chumley, getting into all kinds of trouble, all the while educating the audience and making them laugh.

The uneven pacing of WHAS guarantees a small audience — big laughs come in clusters, and the plot speeds up and slows down depending on what you like — but I have a feeling that it's the type of movie that will find its niche in repeat viewings.