Sentences with phrase «best kind of comedies»

The best kind of comedies are based on self - deprecation.

I'm not comparing the two, but those are two of the best kinds of comedies I will watch when my brain has taken a siesta.

For my mind, it's the best kind of comedy, because usually when comedians — they'll say something and then you go, «oh...».

Not exact matches

A 33 - year - old actor and comic best known for his long - running role as Maurice in the Britcom «The IT Crowd,» Ayoade has an evident gift for the kind of slightly offbeat comedy that's about the differences between a character's self - perception and the way the world sees him.

Kind of like a cross between Jarhead and True Romance, there is the combination violence, drugs and humour that is common to post Tarantino comedy thrillers, but somehow it doesn't quite sit well with the setting of the US military.

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).

Shedding the broader PG - 13 comedy of his past two films (Starsky & Hutch and School for Scoundrels) director Todd Phillips returns to the kind of raunchy guys - get - together humor that he does best.

Once a vibrant, innovative network, it has been unable to develop a good comedy since «Arrested Development» (while NBC and CBS excel there), and as the Fox audience matures, the network has chosen to become a kind of CBS Lite.

The twist in Sirk's comedies is that their emphasis is on the situation rather than the resolution, on the problems that divide the characters — all four films are romances of one kind or another — rather than on the contrivances that suggest that all will be well after the final credits have rolled.

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.

Dumb & Dumber is the kind of comedy you watch, not because you want to see a good movie, but just to get some cheap laughs.

Carrell and Fey have terrific chemistry and the script allows us to see their intelligence, wit and charm develop as they are pushed further and further onto kinds of preposterous situations that a good screwball comedy demands.

This may look like a basic high - concept comedy (the single - night party movie), and it is to a point, but Sisters is among the best of its kind.

Best described as Home Alone meets Michael Haneke's Funny Games, the sadistic horror comedy [Better Watch Out] is the kind of film that's tough to categorise but easy to enjoy.

Oh, it hurts so much to see Lake Bell and Simon Pegg, both so naturally charming, sink to the regressive, stupid levels of «Man Up,» the kind of romantic comedy that reminds you why the genre continues to wheeze and sputter and die while the few good ones...

The Globe nominations were kind to other films coming out later this year: Both «The Wolf of Wall Street,» the account of a win - at - all - costs stockbroker premiering on Christmas, and «Her,» a dystopian tale of severed interpersonal relationships opening Dec. 18, received multiple nominations from the Hollywood Foreign Press Assn., including selections alongside «American Hustle» for best comedy or musical motion picture.

Comedies tend to do better later in the summer (see: Bad Moms, We're the Millers, or even Horrible Bosses), but it seems like this year audiences are paying more attention to what kind of reviews a movie is getting.

Wet Hot American Summer — The best American comedy of the year did nothing theatrically (I think the three people I saw it with might have been it's total gross), but reached a kind of cult status on video.

Zissis and Duplass don't quite have the same dramatic heft, but both have a gift for a certain scruffy, loose kind of naturalistic comedy and their longtime friendship and professional relationship helps them make believable best friends.

At the very least, it's good to have a movie like this able to find an audience, because this feels like the kind of comedy that otherwise might not get any interest for a studio.

Director Favreau is particularly good at this kind of thing, having climbed his way up on brisk, smart, high - concept comedies like Made, Elf and Zathura.

Prince Avalanche has been preceded in the media by the kind of mood music that suggests that it is the film in which director David Gordon Green retreats / recovers from the commercial, stoner - comedy digressions of Your Highness and Pineapple Express to the artistic purity of his well - reviewed first films, George Washington and All the Real Girls.

Not many current actors who are known for self - effacing screen comedy can do this kind of thing well.

Edie Falco, Best Performance by an Actress in a Television Series, Comedy or Musical, «Nurse Jackie» «The Hollywood Foreign Press has been so kind and supportive of me over the years.

You could think of Dead Rising as being the sort of comedy remake they would do as a reboot to the Resident Evil series in say a decade or so from now... kind of the way they are rebooting all sorts of tv series now but making them comedies... I should also note here... I am aware there is actually a Dead Rising movie already... I haven't seen it but I hope it's good and has the same humour as the game.

WHY SEE IT: An interesting and creative premise for a film that is clearly a labor of love — kind of an indie comedy take on CUBE and LABYRINTH, with a touch of ALICE IN WONDERLAND and Terry Gilliam insanity thrown in for good measure — DAVE MADE A MAZE is an amusing diversion for fans of budget filmmaking who can appreciate a smirk - inducing comedy with a light touch of horror and fantasy.

Tsui sets his avoidance dances in confined spaces (tiny apartments, backstage dressing rooms), but To's are set out in the open: a fountain in a public park, a street corner, a sidewalk (a similarly choreographed scene plays out as well early in Romancing in Thin Air, itself a kind of compendium of all of To's romantic comedies, where Sammi Cheng and Louis Koo wander outside the grounds of the hotel, oblivious to each others» presence despite occupying the same film frame).

It's a good twist on what is usually expected for this kind of holiday comedy, and it's all handled with care, because Dougherty knows what he is doing.

* Asked how he feels about going from very small indie films to a massive, effects - driven fantasy / comedy, Green said: «Well, just like probably all of you guys like to see different kinds of movies every week — a little of this, a little of that — it's fun professionally to, like, get in the ring and design creatures and have guys in suits and puppets and just, y ’ know, bring in all this stuff... I remember when I was a kid, and if something like «Behind The Scenes of Return of The Jedi» would come on, I'd just be glued to the screen, wishing that one day I'd be able to get my hands dirty doing something like that.

«MADtv» alums turned latter day sketch comedy saviors Keegan - Michael Key and Jordan Peele have sneaked up on the American consciousness in the last few years, but it's a good kind of sneak.

Tim and Eric talk about how their film was sadly «Rango'd» by Robert Redford and the festival, the state of comedy today, a sensitive project with Chris Kattan, and what makes the best kind of Shrim.

**** Zachary F November 29, 2012 this movie is sooo funny Jon C November 29, 2012 a fun, crude, and hilarious comedy two girl roomates formulate a plan to make their own sex hotline in order to make ends meet hijinks and raw laughs ensue between two very different people who embrace their sexuality via telephone the performances from both Graynor and Miller are pretty damn fun to watch the dialogue is insanely funny and gratuitous there's a very strange cameo in here too by Nia Vardalos Justin Long adds a nice touch being the supporting gay best friend mentoring these two girls it's just very awkwardly humorous listening to these people talk in this kind of film, there's interestingly no actual sex happening on screen, no boobs, no ass, no exposed body parts the plot mainly focuses on the bonding relationship bewteen the two leads which is a good break from the usual norm we're used to I can't help but feel though that the filmmakers didn't have anything left at the end, some of it felt unfinished and unresolved for all those problems, «For A Good Time, Call..&ragood break from the usual norm we're used to I can't help but feel though that the filmmakers didn't have anything left at the end, some of it felt unfinished and unresolved for all those problems, «For A Good Time, Call..&raGood Time, Call..»

The kind of comic actor that Anna Faris represents, and the kind of unabashedly screwball comedy that she embraces, is quite possibly rarer than a comet hitting Earth — or a good, solidly - made American movie comedy.

It is the kind of comedy role that probably slides under the radar, when hidden behind so many good turns from the other actors.

Even when the comedy becomes kind of lewd, it still works incredibly well.

The Disaster Artist is a rollicking, satisfying comedy about one of the weirder stories in Hollywood, and Franco talked with me by phone about it, as well as his love of Sunset Boulevard and the ways he and Wiseau are kind of like Spider - Man and Venom.

The script relies upon the player having a good understanding of British humor and general knowledge of the kind of jokes that were made popular by Monty Python and similar classic comedies.

As is, Super Troopers 2 is the kind of dated comedy that doesn't play nearly as well meowadays.

We rarely get to see Sandler do this kind of straight - faced comedy, and he's so good in The Meyerowitz Stories that he deserves the chance to do more.

Chef is the kind of enjoyable, good - natured comedy that's frequently accused of being a vanity project by detractors.

His Kind of Woman John Farrow, USA, 1951, 16 mm, 120m Mitchum had a good time shooting this ambling comedy thriller, playing a down - on - his - luck gambler who takes a mysterious gig that brings him to an exclusive Baja resort, where he meets up with a colorful crew of characters, including a beautiful woman (Jane Russell) and her movie star boyfriend (Vincent Price).

In «Toni Erdmann,» a very good and peculiar comedy from Germany's Maren Ade, a father subjects his high - strung adult daughter to a kind of unexpected — and clearly unwanted — shock therapy, using joke - shop fake teeth, a fright wig and a freakish sense of humor as tools of enlightenment.

Take a bawdy, poor taste comedy, which unexpectedly made a ton of money, add the kind of senior acting stars who also made The Best Exotic Marigold Hotel a ton of money, and you've got a hit.

2:00 am (10th)-- TCM — Kind Hearts and Coronets In one of the zaniest of the zany comedies that Alec Guinness was best known for in his early career, he plays eight, count»em, eight characters — all relatives in line to receive a duke's massive fortune upon his death.

Scarlett Johansson, who has played well in weird comedies like Lost in Translation and Scoop is just not right for this kind of innocent dreamer girl - next - door role.

The flick works best is when it is putting a twist on the drug - fueled comedy with the holiday spirit, most notably with Michael Shannon portraying a drug dealer selling three different kinds of weed for the occasion, built around the concept of past, present, and future, effectively making him out to be a fun take on the ghosts we are familiar with.

As well as the relevance of this kind of political comedy at a time in which, he says, the American administration seems to be beyond satire.

Since Bridesmaids, he's been keen on making comedies starring women that perform incredibly well at the box office, and yet Hollywood continues to see female - driven films of any kind as a «risk.»

Beginning almost literally with an Easter egg shout - out only hardcore comic book fans will get at the start of a winning «I wish I'd thought of that» opening credit sequence that will be the envy of Hollywood comedy writers and producers, 20th Century Fox's Deadpool makes quick work of announcing it's a different kind of superhero movie... in a good way.

Emmy Rossum: It's that kind of absurdist comedy that David does so well, which Is I think why he's the perfect persona to have directed this film.