Sentences with phrase «comedy with wit»

Somewhere in - between David Bowie, Lady Gaga, Freddy Mercury and Oscar Wilde, in the transgressive space of pop culture and dressed up as a high school comedy with wit, heart and a dazzling cast, Freak Show is about the violence of conformity and the power of self - determination.»

Beyond the gimmickry of the penis gags, this is an romantic comedy with wit and charm to burn.

Not exact matches

With Tina Fey at the helm, 30 Rock is the definition of quick - witted comedy.

The pace of Star Wars is rapid fire for most of its hour and 57 minutes, and the script is filled with a verbal and visual wit that has been rare in Hollywood movies since the screwball comedies of the «30s.

«Just Go with It» has major problems with its lack of wit and exhausted repeated jokes, but thankfully, Aniston's performance is able to boost up the comedy in the film; adding to an amount that ranks higher than many other films that try the same formula of comedy as of this film With Sandler's and Aniston's connection being believable, «Just Go with It» manages to hit the mark for several adults and teens to enwith It» has major problems with its lack of wit and exhausted repeated jokes, but thankfully, Aniston's performance is able to boost up the comedy in the film; adding to an amount that ranks higher than many other films that try the same formula of comedy as of this film With Sandler's and Aniston's connection being believable, «Just Go with It» manages to hit the mark for several adults and teens to enwith its lack of wit and exhausted repeated jokes, but thankfully, Aniston's performance is able to boost up the comedy in the film; adding to an amount that ranks higher than many other films that try the same formula of comedy as of this film With Sandler's and Aniston's connection being believable, «Just Go with It» manages to hit the mark for several adults and teens to enWith Sandler's and Aniston's connection being believable, «Just Go with It» manages to hit the mark for several adults and teens to enwith It» manages to hit the mark for several adults and teens to enjoy.

A natural beauty who possessed a razor sharp wit, Carter Cash soon became popular for spicing up the live performances with comedy routines and monologues.

It is the show with everything: wit, comedy, emotion, thrill, and plenty of action.

Her performance, which perfectly displayed the hyperkinetic comic energy and sardonic wit that came to characterize many of the actress» portrayals, won her a «special recognition for acting» at Sundance that year.The year 1998 brought more independent work in the form of The Misadventures of Margaret, a romantic comedy in which Posey had the title role and a foray into mainstream features with a turn as Tom Hanks» book - editor girlfriend in Nora Ephron's You've Got Mail.

This British black - comedy soars high with its wit and tragedy.

She was comfortable with physical comedy but also able to entertain with verbal wit.

While the Planet Hulk storyline is full of wit and verve and comedy with dashes of drama, the Hela / Asgard arc is more drama with flashes of dark humor (Hela even gets a few good lines).

The Meyerowitzes all speak with the wit and observational detail that one might expect from the screenwriter of such whip - smart comedies as Mistress America and Kicking and Screaming.

With virtually the same blend of wit and idiocy as the 2001 original, this fashion - scene comedy is funny enough to spark some solid laughter in between the gags that fall flat.

The quick witted bickering and comedic interaction between the main players; Hulk, Captain America, Iron Man and Thor is handled with such skill and comedic flare that the results are often comedy gold.

A low - key comedy about a couple going through divorce may not sound like the stuff of cinematic magic, but with its spot - on character observation and sardonic wit The Squid and the Whale is an unexpected delight.

Letts has some fine moments, but it's Winger who really brings the color to this movie, creating a woman filled with disappointment and passion and wit, taking a small - scale comedy of manners to a darker, richer place.

Ali's Wedding is a fast - paced comedy of very Muslim manners that shines with wit, humanity and crowd - pleasing charisma.

It's a bewitchingly blackhearted comedy of class warfare played as sardonic farce, directed with a light touch and dry wit by Robert Hamer.

The bracing if oppressively acrid wit of mid-career works like Greenberg has merged with the emotional generosity of more recent (and comparatively trifling) comedies like Frances Ha to synthesize his sharpest and tenderest opus since his acknowledged masterpiece, 2005's The Squid and the Whale.

The misfits who make up the Gorgeous Ladies of Wrestling go after their big chance at stardom with endless wit, grit, and perfectly - timed comedy — Netflix has truly outdone themselves with this one.

Scored with wit by a pointedly wry Seventies soundtrack that crucifies its older generation protagonists, The In - Laws is ultimately that rarest of beasts: a modern comedy that knows its strengths and exploits them.

You may, at first, balk at the notion of murder as comedy, but Kind Hearts and Coronets carries out its grim duties with such cheer that you surrender morality to Hamer's comedy and guffaw at the film's dry British wit and gallows humor.

It is a pleasant and easygoing diversion that demands little of viewers, whom it rewards with the wit and light character - driven comedy on which Schulz's multi-million dollar empire was built.

Like a 20 - years - later sequel to Before Midnight, this sharply observant comedy - drama follows a couple through a soul - searching weekend in which they evaluate their relationship with real wit and emotion.

«There aren't many stars who can convincingly play drama and comedy with effortless wit, not to mention a musical savant and crime - solving genius.»

Directed by Jim Burrows (Partners), who also directed episodes of «Laverne and Shirley» with Penny Marshall, this is a small television movie that has more wit, charm and grace than most romantic comedies made today.

Plus, the two films make total sense as a double - bill, both of them playful, youthful riffs on the mystery genre: where Chen's frisky, jewel - toned romantic caper comedy prompts thoughts of Stanley Donen dancing with Wong Kar - wai, Katz quietly clothes the ghosts of Raymond Chandler and Arthur Conan Doyle in dirty jeans and doleful wit.

The Big Sick, written by Kumail Nanjiani and Emily V. Gordon, breathes life into the done - to - death romantic comedy genre with grace and wit.

OLLA is a delicious black comedy, oozing with sharp wit and hipster attitude.

Whit Stillman does costume - comedy with his signature sharp wit, and Kate Beckinsale gives a spectacular performance.

It was Jam - packed with wit that ensured the tradition of great British comedy is still alive and well.

He's able to cross the Atlantic with biting British wit, and have his work be fully embraced at port instead of the usual fare of American confusion and ignorance towards British comedy.

Director Declan Lowney brings radio host Alan Partridge (Steve Coogan) to the big screen in his outrageously funny new comedy, «Alan Partridge,» that's filled with incisive wit and satirical humor.

Land of the Lost (PG - 13 for profanity, sexuality, crude humor and a drug reference) Sci - fi comedy abut a trio of explorers (Will Ferrell, Danny McBride and Anna Friel) forced to survive by their wits after being sucked though a space - time vortex into a parallel universe filled with dinosaurs and other strange creatures.

THE LADYKILLERS (Grade: D): This Coen brothers remake of the classic 1955 British comedy — with Tom Hanks in the Alec Guinness role as the leader of a gang of crooks who plan a heist in the home of a dotty old woman (Irma P. Hall)-- not only misses all the wit and charm of the original, but it may stand as the clumsiest, crudest, least funny and most pandering of all their films.

To his credit, he does manage to actually gain a few extra chuckles from his manic performance, but the weakness in the material eventually does show, and Mazursky's (Down and Out in Beverly Hills, Moscow on the Hudson) attempt at a throwback to the screwball comedies of the 1920s and 30s replaces wit and panache with fits of desperation.

In Martin McDonagh's supremely dark comedy, McDormand is working with a director whose sweet spot, like hers, shifts between tragedy and scathing wit.

Hollywood's first decade with sound gave rise to a number of staple genres like the screwball comedy, which featured rapid - fire dialogue laced with wit and whimsy, and lavish musicals.

The result is a conventional dark comedy with moments of unexpectedly biting wit.

This bittersweet comedy - drama positively crackles with wit, intelligence, and flair, and Giamatti cements his status as the smartest, savviest actor of his generation.

While hockey comedy Goon, released in 2011, didn't completely transcend sports movie standards, it was a fresh mix of vulgarity and brutality with genuine wit and heart.

You can, believe it or not, see some of Leitch's affinity for the silent classics in Deadpool 2, a movie that often blends action and comedy with visual wit and efficiency, offering an unexpected new angle to a sequel that returns with the expected load of R - rated snark and in - jokes for movie buffs (Celine Dion sings over the opening sequence, which invokes everything from Bond movies to Flashdance.)

Also in 1937, March matched wits with legendary actress Carole Lombard in this classic screwball comedy from director William Wellman.

Mike Leigh's new comedy, Naked (18), is at the other end of the spectrum - pitchy black, with the only light cast by the coruscating wit of its misanthrope hero, Johnny (David Thewlis).

While one key scene attempts dark comedy with mixed results, thereâ $ ™ s more jaunty wit in the scenes with pupil Kenny (Nicholas Hoult, dripping sexuality as heâ $ ™ s caught in the cameraâ $ ™ s lustful gaze).

But the film has aged remarkably well over twenty years, perhaps because it was even something of a throwback at the time: the imprint of conversation - driven French auteurs like Eric Rohmer is borne proudly by this sharp, sexy and nastily funny comedy of manners, whose dialogue crackles with such cutting truth and wit one wonders why Soderbergh doesn't write more these days.

With an ultra-dry wit, the 1980s rendering of a computer chess convention is one of the most unconventional comedies of recent years (read our review).

In a classic screwball comedy — which this film resembles — such lines would have wit and sparkle: Ralph Bellamy would exclaim with gusto, «This food is of restaurant quality!»

One of the nuns is exposed as a Jew, to round out the physical comedy with some attempts at verbal wit.

That outset not only prepares you to expect Allen occasionally breaking the fourth wall throughout, a technique that scores some of the biggest laughs, it also captures the essence of this film, Allen's signature romantic comedy, loaded with wit, intelligence, neuroses, and heightened consciousness.