Sentences with phrase «black comedy film»

Not exact matches

The film is an edgy black comedy set in swinging London presents.

The Wolf of Wall Street is a 2013 American biographical black comedy crime film directed by Martin Scorsese and written by Terence Winter, based on the The Occupy movement is an international socio - political movement against social and economic inequality and the lack of real democracy around the world.

Despite an interesting premise and excellent cast, the film flopped, but Arquette continued to work steadily the following year, with lead roles in the black comedy Goodbye Lover; Stigmata, in which she starred opposite Gabriel Byrne as the unwitting target of a supernatural phenomenon; and Martin Scorsese's Bringing out the Dead, a film starring Arquette's then - husband Cage as a burnt - out paramedic.Following the weightiness of the creepy Stigmata and the disturbing Bringing Out the Dead, Arquette took things in a decidedly lighter direction with her next two projects.

Note to Peter Berg: the next time you make a film (which hopefully will never happen) try not to make the victims so sympathetic and your heroes so despicable and you may have an easier time keeping the right tone for a black comedy.

«Guess Who» is a dry comedy, a remake of the classic «Guess Who's Coming to Dinner» (1967), only this time, it has a race role reversal, where the original film was about a white family meeting a black man, this film centers around a black family meeting a white man.

Some employees of an international arms dealer go out into the Hungarian wildeness for a weekend company retreat, only to find themselves menaced by a group of militants who don't like having them around their territory in this modestly budgeted dark comedy / horror film from Christopher Smith, who also directed Black Death (with Sean Bean).

Reynolds» superb turn as unhinged central character goes a long way towards smoothing over The Voices» various faults, which finally does confirm the film's place as a distinctive black comedy that is, in essence, an instant cult classic.

Valletta's roles — given the actress» off - camera motherhood and intermittent magazine work — accumulated slowly over the next several years (in films such as the Nicolas Cage holiday vehicle The Family Man and the Danny DeVito - directed black comedy Duplex); as a result, Valletta only ascended gradually to top billing.

We're beyond the era of Airplane and The Naked Gun, but even some of the early Scary Movie films had some merit, and then Walk Hard, Black Dynamite, and Wet Hot American Summer are shining examples of the best the comedy subgenre has to offer.

If Pedro Almodóvar, especially in his early days, had directed this film, he might have brought out the black comedy inherent in the piece, which would have made both the blackness and the comedy more fully resonate.

That moment is the most shocking in the film: the violence, and then the lifetime of care needed to contain and control its consequences, are well suggested; the movie soberly keeps Marjorie away from any suggestion of black comedy.

Secondly the tone of this film varies hugely, at one point its a dumb black comedy type affair, then its a somewhat semi serious, dirty government type affair, then its trying to be a Bourne-esque kickassery type affair, then it hints at being a rom - com with cutesy dialog, and at times it can be a bit heartfelt.

An unfocused, unfunny black comedy, Dr. Strangelove Or: How I Learned to Stop Worrying and Love the Bomb details the chaos that ensues after a nuclear attack is mistakenly triggered against the Soviet Union - with the film following a host of disparate figures, including George C. Scott's Buck Turgidson, Sterling Hayden's Jack D. Ripper, and Peter Sellers» title character, as they attempt to neutralize the threat.

Prior to that, he produced and starred in Phil Morrison's black comedy ALL IS BRIGHT alongside Paul Rudd and lent his vocal talents to the English - language version of the Oscar - nominated French animated feature, ERNEST & CELESTINE, and the highly anticipated feature - film adaptation of THE LITTLE PRINCE, directed by Mark Osborne.

Probably more than any other filmmaker, his name evokes instant expectations on the part of audiences: at least two or three great chills (and a few more good ones), some striking black comedy, and an eccentric characterization or two in every one of the director's movies.Originally trained at a technical school, Hitchcock gravitated to movies through art courses and advertising, and by the mid -»20s he was making his first films.

People do very bad things in Very Bad Things, but in a black comedy it isn't so much what you do as how you do it, and Berg hasn't the gallows humor to turn this excursion into bad taste from a sick idea to the despicably funny film it should be.

Although the show was eventually cancelled, the actress continued to appear in a number of TV series and independent films, including Hartley's Flirt (1995), Susan Streitfeld's Female Perversions (1996), which cast her as Tilda Swinton's psychiatrist lover, and Sour Grapes (1998), a black comedy which featured her as the girlfriend of a greedy neurologist.

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).

You might call it a black comedy of errors, but the humorous side of the film is less well executed than Slattery's impeccable creation of a certain neighborhood feel.

An unusually intelligent black comedy, this British independent film takes the audience on a road trip that's packed with surprises.

Some want to call it a black comedy, others insist it's a horror film, Spike Lee calls it a documentary.

If you enjoy irreverent, sexy, and perverse black comedies like Wild Things and Cruel Intentions, Mini's First Time should prove worth a look, especially if you're a fan of any of the film's talented stars.

Written and directed by actress Adrienne Shelly, who also has a bit part in this film, I»LL TAKE YOU THERE is an offbeat black comedy that has many bits and pieces that make it worth watching, but as a whole isn't quite substantial enough to remember long afterwards.

He didn't exactly choose an easy project for a first film, as black comedy is a very difficult style of film to pull off, and with a cast of very seasoned actors to have to tell precisely what to do, Guthe very well could have lost control and focus on the project and turned in a disaster.

Unafraid to inhabit the ragged edges, she captures the black comedy that's at the core of this gritty independent drama, making audiences ache for more LaVona while keeping Rogers» original idea for the film intact.

I»LL TAKE YOU THERE is recommended for people who like black comedies, off - beat indie films, or are just curious to see Ally Sheedy in a good performance again.

The comedy is broad, and this is certainly more multiplex - friendly than Kiss Kiss Bang Bang, however, so those who hold that earlier Black film in high regard might be left feeling a bit unfulfilled.

TITUS Julie Taymor creates a visually arrest ing film around Shakespeare's much - maligned «Titus Andronicus,» which emerges as a brilliant black comedy.

Moving on, as recently reported, talks are already underway with cast members Aaron Johnson, Chloe Moretz and Christopher Mintz - Plasse to reprise their roles in the black comedy superhero film that grossed $ 48 million domestically and $ 96 million globally back in 2010.

«Get Out» is not a film that takes breaks for comedy routines (even if Howery allows a little relief, it's often in the context of how he's convinced all white people want black sex slaves), keeping us on edge and uncertain from the opening scene to the final one.

The black comedy, which stars Colin Farrell and Rachel Weisz, was filmed in Co Kerry last year and received funding from the Irish Film Board.

From British / Irish director Martin McDonagh, who'd already had massive transatlantic success with plays like «The Beauty Queen of Leenane» and «The Cripple of Inishmaan» and had already won an Academy Award for his short film «Six Shooter,» the hitman black comedy was not just the arrival of an exciting new director, but also marked a refreshing change of pace for Farrell, whose split personality of rugged charm, soulfulness and hair - trigger volatility found its most perfect vehicle to date.

The team had a clear idea how to exploit the black comedy of the film without disregarding its depiction of serious abuse, which had made the movie a hot potato.

Ana Lily Amirpour follows up her alt - cult sensation A GIRL WALKS HOME ALONE AT NIGHT with her sand - blasted, dystopian love story THE BAD BATCH; Maren Ade delivers what will be the most uncomfortable film of the festival, the desert - dry black comedy TONI ERDMANN; and Julia Ducournau's directorial debut, RAW, takes us on a cannibalistic coming - of - age shock ride that resonates long after its stunning finale.

Mark Osborne and Jack Black from Tenacious D are going to do a comedy segment for the film.

But it's never clear if this is meant as a parody, an exploitation film or a black comedy.

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.

The film is today's version of a «black comedy,» i.e., it is coarse, caricaturing and for the most part unfunny, its approach largely borrowed from whatever last year's most lucrative «black comedy» might have been.

An all - American family Same - sex relationships in American films have been the stuff of tortured melodrama («Brokeback Mountain»), broad comedy («The Birdcage»), or indie oddities filled with drugs, kinky sex, and black eye shadow («Bound», «Shortbus»).

Black's involvement is far more significant than his «80s action track - record, as his barnstormingly clever, postmodern film noir comedy, Kiss Kiss Bang Bang, was fundamental in relaunching Robert Downey Jr's career, post-rehab.

The film is equal parts psychological thriller, nightmarish arthouse horror and black comedy; it's the pulsing dread of Polanski's Rosemary's Baby meets Haneke's gallows humour and Kubrickian clinical formalism.

A very broad comedy — certainly not black in hue, but perhaps a mild shade of gray — set in Queen Anne, Volunteer Park, and other picturesque locations with views of the Space Needle, plus the (film insider joke!)

Ryan Gosling and Russell Crowe may be «The Nice Guys» in director Shane Black's new action - comedy, but the pair took every opportunity to needle each other at the Cannes press conference for the film Sunday.

This film strains so badly to be a black comedy that it does itself an injury.

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.

The movie has even drawn some comparisons to «Trainspotting,» even if the pitch - black comedy feels more like another book - to - film cult classic, «Fight Club.»

STX Entertainment and the Jim Henson Company are developing a black comedy and live - action hybrid that the film company sees as racy and raucous enough to bring an R - rating.

The most important thing between us was to always remember what happened to the daughter, and even in the edit I had to remember it was a film about that rather than a quirky black comedy.

WHY: Phil Morrison is perhaps best known for directing the Oscar - nominated film «Junebug,» but any promise that he may have showcased with that movie has likely already been forgotten about between his little - seen follow - up «Perfect Partner» and this joyless black comedy.

Red Christmas is both written and directed by Australian actor - filmmaker Craig Anderson, making his feature directorial debut after numerous short films and TV work including «Double the Fist», «Black Comedy», and «How Not to Behave».