Sentences with phrase «comedy performances like»

Not exact matches

CF: Like a great comedy performance, a great presentation is all about communication.

Watching both men give such capable and focused performances is a powerful feeling that makes me wonder why they mostly stick to the comedy genre when they have performances like this to offer up.

This may look like a conventional coming - of - age romantic comedy but there is more to recommend it, including an appealing performance from McAvoy, hilarious moments and a quite painful scene near the end.

Like his Breakfast Club co-star Molly Ringwald, Gleason willingly spoofed his most iconic performance in the 2001 comedy Not Another Teen Movie.

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.

Odd - couple type of comedies like this are made or broken by the central performances and this is most certainly the former.

Reminiscent in tone to classic dark screwball comedies like Ruthless People, director Seth Gordon (Four Christmases, The King of Kong) succeeds by keeping the energy high, the actors flowing naturally with off - the - cuff reactions, and by keeping the tone light, the performances spot on, and the quips lightning - fast throughout, even during the pitch - black comedy moments.

Williams turns in a terrific performance in this 1996 comedy, proving that his improvisational skills extend to reactions of a more subtle nature than the crazy riffs he displayed in films like «Aladdin,» «Good Morning Vietnam,» and «Mrs. Doubtfire.»

The actor adds a few layers of deadpan physical comedy to the role, much like his Buster Keaton-esque performance in Benny and Joon, and also recalling his earlier western, the masterpiece Dead Man.

But it's possible that some Academy voters who missed the summer hit will make sure to catch Girls Trip on - demand (or on a screener) after seeing Haddish's comedic stylings on S.N.L. Haddish already seems like a lock for a Golden Globe nomination — given the show's separate categories for comedy performances — but this S.N.L. appearance could be the beginning of a very smart Oscar campaign as well.

Grand Jury Award: Carlos Puga, All That I Am Best Feature: Denis Henry Hennely, Goodbye World Best Documentary: Lucy Walker, The Crash Reel Best Animation: Eoin Duffy, The Missing Scarf Best Short Comedy: Michael Neithard, Alive feeling like a buck seventy five Best Short Drama: Michael Tyburski, Palimpsest Audience Choice — Documentary: Sean and Andrea Fine, Life According to Sam Audience Choice — Feature: Brant Sersen, SANATORIUM NH Feature of the Year: David Gordon Greene, Prince Avalanche NH Short Film of the Year: Sophia Savage, Empyrean Best NH Documentary: Todd Kwait, Tom Rush: No Regrets Best NH Performance: Morganna Ekkens for Only Daughter New Hampshire Film of the Year: Aaron Wiederspahn, Only Daughter Van McLeod Award: Lisa Muskat

The sensation of being caught in an endless loop is reinforced by the main musical theme, by Kitano regular Joe Hisaishi, a piece of treacle featuring piano and orchestra that's repeated so many times it drills its way into your skull, like one of the elevator - music themes of a comedy by Jacques Tati (or, perhaps closer to the mark, Ryuichi Sakamoto's main theme for Nagisa Oshima's Merry Christmas, Mr. Lawrence, which featured Kitano's first film performance).

At least the pieces placed before us seemed like perhaps we could once again happily journey into this world: performances are fine and the direction by the returning Scott Moore and Jon Lucas is solid, but CHRISTMAS fails utterly to connect the tissue behind the comedy into a cohesive narrative that doesn't feel like bad dramedy.

She gave us brilliant performances in Indi Movies like Junebug, in Dramas like Doubt in Comedies like Enchanted....

After a handful of unmemorable performances in films like Knowing and Adam, Byrne is finally opting to stick with a genre that works quite well for her — comedy.

The story, which Abrahamson developed over three years with writers Jon Ronson and Paul Straughan, asks serious questions about identity and performance, peppering them with the comedy and tragedy brought on by a grown man refusing to live outside of a huge, orb - like head.

Amongst 2011's other raunchy comedies it lacks the pathos of Bridesmaids or a go - for - broke central performance like Bad Teacher.

You could make the argument that his habit of producing low - brow comedy makes it a total surprise every time he delivers something like Punch - Drunk Love or Funny People, but the truth is that Sandler's always been great — and we should stop acting like compelling performances like The Meyerowitz Stories are the only proof we have that he doesn't suck.

It's a perfect comedy with biting dialogue and pitch - perfect performances from the likes of Josh Hamilton, Chris Eigeman, and Parker Posey, and a hilarious take on the stunted emotional growth of a group of friends who can't quite move on from college.

It is no new gripe that voting bodies like the Academy have a blind spot for certain varieties of performance — comedy routinely heading the list.

This looks like a painfully awkward, somewhat amusing, kitschy indie romantic comedy film that looks like a fun performance piece for the cast.

Pfeiffer, who has often struggled being funny in comedies over the years, actually does deliver a likeable, and quite amusing performance, ingratiating herself by taking on the less glamorous role of a woman whose looks are fading to the point where she often feels like an outsider looking into a world she is supposed to be front and center of.

Whereas the book, intended as satire, is sickeningly misogynist, the movie mocks male machismo, plays like a violent comedy and showcases a fearless performance by Christian Bale (brilliant as a murderous fool with a great physique).

That performance (coupled with some high - profile US gigs like hosting the MTV VMAs for two years straight and a Comedy Central stand - up special) catapulted him to movie stardom, leading to starring roles in 2010's Get Him to the Greek (in which Brand actually reprised his Sarah Marshall character) and a remake of the Dudley Moore classic Arthur.

With a sure thing in Keaton, and bolstered by another perfect performance by Jack Nicholson (Anger Management, About Schmidt), in a script deliberately written with both of them in mind, Something's Got ta Give is an impressive personality driven piece that is easy to like, mostly because we like the stars enough to forgive the heavy contrivances that necessitate the traditional romantic comedy mold.

Olsen proves that she can be a comedy force just like her older twin sisters and not just an actress who is limited to performances in dramas and comic book movies.

Unfortunately, it plays more like a Will Ferrell buddy comedy, except replacing Ferrell's penchant for physical humor with Alexander Skarsgard's (The Legend of Tarzan, Hidden) one - note performance, which persistently disrupts the tone (Skarsgard was a last - minute replacement for the originally cast Garrett Hedlund, who left the project due to conflicts with McDonagh).

I resisted the performance at the time, I confess — partly because I didn't much like the film, partly because what Weaver does seemed to me only slightly removed from the foul - mouthed grannies who populate terrible comedies.

That said, if one hasn't seen the original, there is much to like in the twisted and dreamlike comedy of the mise - en - scène and the fine performances (Emmy Rossum is quite good as the sister — she was not in the short).

In an era in which hashtag protests can quickly spread like wildfire on social media, the academy avoided a potentially thorny situation when James Franco — who has recently faced accusations of sexually inappropriate behavior from several women — failed to score a lead actor nod for his performance in «The Disaster Artist,» which earned him a Golden Globe award for best actor in a musical or comedy just weeks ago.

Reviewers have praised its stellar performances and tight direction, praise that is deserved, but I'd like to highlight what I think makes director Dan Trachtenberg's film unique: A combination of suspense so elemental that most of the movie could easily be performed onstage with the kind of absurd humor you might expect to see on FX or Comedy Central.

A great script and some excellent supporting performances made this a modern - day comedy classic that's even managed to spawn spin - offs and online casino games like Bridesmaids slots.

As to the last spot, it's especially hard to hypothesize, because while we'd love to believe that Rose Byrne in «Neighbors» could score a Melissa McCarthy - in - «Bridesmaids» - style surprise our heads say she's a step away from that level, and it would be more likely to go to the less deserving, but more traditionally Oscar - y performance from Emma Watson in «Noah,» especially as Watson feels like the kind of actress the Academy might be anxious to anoint, and «Noah» is distinctly not a comedy.

«Identity Thief» should have been the final nail in the coffin of America's love affair with McCarthy, but if her irritating performance in «The Heat» doesn't put an end to that reign, then the moviegoing public deserves more lowbrow comedies just like it.

In fact, it plays much more like a quirky black comedy (which it is), with another idiosyncratic performance by Depp (Pirates of the Caribbean, Once Upon a Time in Mexico) that treats this nonsense with all of the seriousness it deserves — none.

The chemistry never really comes to life, and neither does the comedy in either the first or second halves despite a spirited performance by Paresh Rawal as the disapproving, DeNiro - like father.

But, like Bill Murray and Jim Carrey, Keaton understands how comedy is part of a physical performance, how laughter is intertwined with pain and longing.

The best known titles that are available at launch are: The Hunger Games, Think and Grow Rich, and The Power of Now; revealing interviews with celebrities like John Lennon, Jack Nicholson and Lady Gaga; stand - up comedy performances by comedians like Aziz Ansari, Jon Stewart and George Carlin; guided meditation and hypnosis sessions to help people relax, become inspired and lose weight; children's story classics like Where the Wild Things Are, Clifford the Big Red Dog, and Goodnight Moon; business training from leaders like Zig Ziglar, Brian Tracy, and John Assaraf; and author theater performances starring award - winning actors like Neil Patrick Harris, Hilary Swank and Laurence Fishburne.

• Tony Smith (1912 — 1980), sculptor who bridged AbEx and minimalism (dad of Kiki) Mel Kendrick (b. 1949), formalist process - based sculptor Chris Wilmarth (1943 — 1987), sculptor of steel, bronze, and etched glass Joel Shapiro (b. 1941), minimalist sculptor who flirts with figuration Christopher Wool (b. 1955), Neo-AbExer with a taste for graffiti and repetition Alex Hubbard (b. 1975), rising master of painterly materials and abstract coloration Josh Smith (b. 1976), Factory - like painter of great expressive volume Jacob Kassay (b. 1984), mirrored - painting - wunderkind - turned - sackcloth artist • Andy Warhol (1928 — 1987), Pop maestro and appropriationist world - changer David Robbins (b. 1957), artist and «Concrete Comedy» theorist David LaChapelle (b. 1963), lush photographer of celebrity decadence Ronnie Cutrone (1948 — 2013), Factory personality and East Village cult figure George Condo (b. 1957), Neo-Picassian painter of the grotesque Mark Dagley (b. 1957), Op abstractionist • Richard Serra (b. 1939), grand master of process art and the post-industrial sublime Grégoire Müller (b. 1947), painter of current - event appropriations Philip Glass (b. 1937), «Einstein on the Beach» composer Lawrence Chandler (b. 1951), composer, musician, and sound artist • Sol LeWitt (1928 — 2007), father of conceptual art, multitasking artistic outsourcer Adrian Piper (b. 1948), performance art innovator Mark Williams (b. 1950), monochromatic minimalist painter

Last summer, she co-curated «Step and Repeat,» a three - day extravaganza bringing together experimental music, performance art, comedy, and poetry by the likes of Juliana Huxtable and Geo Wyeth, and she's now working with L.A. - and London - based performance and video artist Patrick Staff on a new commission.

Influenced by both the avant - garde performance of artists like Vito Acconci and Richard Foreman as well as forms of popular entertainment, particularly stand - up comedy, Michael Smith has been cultivating his own idiosyncratic brand of performance art since the late 1970s.

Describing themselves as performance artists and sculptors whose audience is the video camera, Wood and Harrison are heirs to silent film comics Charlie Chaplin and Buster Keaton and to uniquely British comedy troupes like Monty Python.

NOTE: Some art critics believe that Performance art is best understood as a «performing art», like drama, dance or stand - up comedy, rather than a form of «visual art» - especially since the «artwork» in question is typically accorded a low priority by the performance artists Performance art is best understood as a «performing art», like drama, dance or stand - up comedy, rather than a form of «visual art» - especially since the «artwork» in question is typically accorded a low priority by the performance artists performance artists themselves.