, the fourth wall breaking narration and
celebrity cameo gags, and easily could have been replaced by Charlie Kaufman's tender and low - key - yet - complex adaptation of his own play
The script, while often decent, is the impetus of two of the things I disliked most about The Big Short, the fourth wall breaking narration and
celebrity cameo gags, and easily could have been replaced by Charlie Kaufman's tender and low - key - yet - complex adaptation of his own play Anomalisa.
Not exact matches
Plenty of the tasteless
gags don't fly, and for every
celebrity cameo that works (a hilariously heavenly Reese Witherspoon), there are two or three that crash and burn.
Indeed, the comedian's favoured director Larry Charles (TV's Curb Your Enthusiasm) returns, as does his uneasy combination of slapstick silliness, gross - out
gags, juvenile jests,
celebrity cameos and political parody, in a film that effortlessly resembles the unruly ridiculousness of his preceding pieces.
Gnomeo & Juliet desperately straddled that sloppy middle ground between loud, kid - friendly slapstick and winking at adults through instantly dated pop - culture
gags and
celebrity cameos, to perfectly average results.
It's a fitting start for a movie that acknowledges its own inescapable sequel - ness at least as often as «Jurassic World,» repeating some
gags, inverting others, and lining up a new raft of «I can't believe that's really...»
celebrity cameos.
But these mildly amusing (at best)
gags are nothing more than an obvious disguise for the thinness of the premise, as is the parade of
celebrity cameos, encompassing the likes of Snoop Doggy Dogg, Willie Nelson, Janeane Garofalo, Stephen Baldwin, Steven Wright, Jon Stewart, and Bob Saget.
But many of the
gags fall flat — Deanna's flop - sweat - and - fainting oral presentation in archaeology class; her trashing of her remarrying ex-husband's wedding reception; a painfully telegraphed
celebrity cameo — and there's virtually no flow from one scene to the next.