Sentences with phrase «comedy out of scenes»

The movie is certainly game at prodding as many movies as possible, but any attempt at humor is missed and the movie actually sucks the comedy out of scenes from movies which were originally funny.

Not exact matches

In the hours before bedtime, I often watch a little TV, but only comedies — I've found that high - stakes dramas and gory scenes from Game of Thrones stress me out and keep me up later than I'd like.

From live comedy shows to museums famous the world over, we have included something on our list that will suit every couple looking for a fresh take on the London date scene, so if it's out there and it's truly worth doing you will find it on our very exclusive list of tip top London date venues!

It's not the most memorable but if you were a fan of this comedy starring Favreau and Owen Wilson then the scene where the grandfather of the constantly referenced rule book appears and it turns out to be Ferrell is just too fun.

There is one scene outside the apartment that feels a little out of place however, as it perhaps goes a too far into the comedy vein and temporarily upsets the balance of the film.

«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.

His scenes detailing documentary filmmaking and some of the inherent comedy there is spot on, but there's a vomit sequence that feels out of a completely different movie.

The scenes with Andy Serkis, playing a truly evil South African assassin, are fun but he's out of the movie too swiftly and there isn't enough of tribal warlord MBaku (Winston Duke), who has an excellent ability to redirect racist stereotypes with comedy.

Star - writer - director Mike Birbiglia (Trainwreck) shows no mercy in pulling back the curtain on the cutthroat comedy scene: When Ben Stiller drops by the gang's regular dive bar after taking in their show, these quick - witted adults make fools out of themselves trying to impress him.

It plays out far more like the future television series «Barney Miller» than it does MASH, except that the creators of the mid-70s sitcom at least had the insight to make it primarily a comedy with occasional bits of drama, instead of cramming both together in nearly every scene.

A five - minute featurette called «Greetings From Bull Mountain» is the standard five - minute B - roll / soft - sell interview errata that features a few additional male buttock shots; «King of the Mountain» is a two - minute music video that splices action sequences from the film together with bloopers and sets it to music (something resurrected in feature - length form by this year's ESPN's X-movie); and nine chapter - encoded deleted scenes (blissfully sans commentary and running between fifteen seconds and a minute, each) are essentially long «comedy» shticks that prove for as bad as Out Cold was, it could have been even worse.

A horror - comedy, Get Out is made up of scenes that are well - acted, stunning, and just pure pleasure.

From March's battle with a bathroom stall door to the pair's ill - thought - out disposal of a corpse, there are some truly fun and memorable scenes that border on slapstick, and I suppose they're the reason why The Nice Guys is being billed as a comedy.

-- while scenes involving grandpa crashing in a closet are straight out of the TV comedy playbook.

As with anything on this over-scored series, comedy sequences are cued by silly pieces of sporadic score, as if viewers aren't bright enough to figure out the intended tone of a scene.

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).

But director John Landis drifts through the proceedings at the pace of an injured sloth, rendering bad action scenes even worse and all but wiping out any chance of a snappy comedy to rival Martin Brest's original.

That said, Denise Di Nova manages to deliver some suspense in some of the scenes, but the film can't quite manage to work out whether it is playing for laughs in terms of black comedy, or completely straight.

Josh Brolin is especially hilarious as he plays it straight in dishing out some of the comedy, including acting out sexual intercourse with his hands in one scene and eating a bunch of Doc's drugs in another.

Individual scenes play deftly enough; the director, Dominic Cooke, is a theater veteran making his feature debut, and he coaxes as much emotional truth out of this clenched, overdetermined scenario as possible (as well as a certain degree of cringe - inducing comedy).

Repeated viewings of the comedy — which opens with a scene in which a deer urinates in Sandler's face, and goes downhill from there — has forced the two to get creative in their weekly ruminations, with segments like «Paddy Schwartz Party Time» (parsing out moments from the brief appearances by featured player Patrick Schwarzenegger) and «Steve Buscemi Mystery Tour» (in which they attempt to investigate the never - explained injuries sustained by Buscemi's character).

Johansson is horribly out of place as the hero Annie, and her early scenes — particularly those requiring physical comedy — are particularly awful.

In one of the funniest scenes in Martin McDonagh's mordant black comedy, this hard - faced single mother gets out of her car and beats up two high - school seniors.

Few and far between are the romantic comedies that play out quite so naturally, the ones that don't suffer because of the strict parameters that make up the rom - com blueprint — we're of course reminded of those limitations within the final scene, that grand gesture that just has to happen in front of as large a crowd as possible.

There's an early scene involving teeth whitening that incorrectly supposes the sight of McCarthy's teeth and gums will be funny, and at another point, she's catapulted into a wall by a sofa bed, because random physical comedy seems to be the movie's go - to mode whenever a scene or plotline seems to be out of juice.

The subversive use of humor feels like a distinguishing touch on its own — who else would have put the obligatory interspecies hang - out scene in a high - stakes casino straight out of a 1930s screwball comedy?

The natural tension that Brice was able to tease out of a scene — the inherent discomfort and overarching ambiguity of character relations — made for a plucky and generously bewitching offering of horror comedy.

Part of what makes I Love You, Man interesting is that it's so almost a canned studio comedy (the obligatory gross - out gags, the cheesy orchestral cues) and yet manages to feel fresh and funny in almost every scene.

Copley has the same ability to land the comedy bits and still present a fully fleshed - out character, and some of the best scenes in the movie are between the two of them.

While I liked seeing extended / deleted scenes and the out takes which were well worth watching, the stuff involving Kevin Smith, Sean William Scott and their comedy was not my area of interest.

And Get Out is certainly a funny film from time to time, with Whitford and LilRel Howery (playing Chris» TSA agent friend turned audience surrogate turned aggressive scene stealer) providing the lion's share of laughs, but the comedy isn't what sticks long term.

Less a spoof of vampire flicks than a fish - out - of - water romantic comedy about a Victorian nobleman trying to negotiate the dating scene of Studio 54 - era Manhattan, this enjoyably silly film is no one's idea of great cinema, but writer Robert Kaufman's concept of a vampire being the standard bearer for old - style morality and romance is an inherently funny conceit helped immensely by a straight - faced lead performance by Hamilton.

Giddy with the same spirit of absurdist self - referentiality, Andrew Disney's daffy new comedy Balls Out receives that scene's lateral pass and runs with the ball.

Rogen and Byrne also attend one of the frat's early, out - of - control parties, which is the opening salvo in what turns out to be some of the most elaborately choreographed and beautifully photographed party sequences we've ever seen in a mainstream studio comedy (their wild night spent drinking their faces off ends in a wonderful scene reminiscent of «The Trip,» with Efron and Rogen comparing Batman impressions.)