Sentences with phrase «deadpan dialogue»

SEE THIS MOVIE IF: colorful costumes and wild set design combined with oddly humorous deadpan dialogue delivery from the mind of Wes Anderson is something you «get» OR you never miss a Ralph Fiennes comedy!

It Needs: For that crocodile to have serious words with its agent — it gets upstaged by the humans» deadpan dialogue in practically every scene

The film's surreal humour delivered in deadpan dialogue might go over some people's heads, especially when blended with the moments of extreme violence.

Wheatley and Jump's flair for comic incongruity and deadpan dialogue is equally well pumped.

The heightened atmosphere is used to justify some devilishly deadpan dialogue and situations — one of the siblings spends half the movie walking around with half an arrow in his back.

His works elicit a blankness of southern Californian suburbs, of patios and bungalows, architecture of the oblique, paired with deadpan dialogues, which reveal the absurdity of the banal.

Not exact matches

As always, there are many laughs to be had in the characters» deadpan delivery of strange, intentionally stilted dialogue, as well as in the understated and decidedly non-wacky physical 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.

Even the most banal dialogue is designed to be read as deadpan.

The key to appreciating any Wes Anderson film (memorable efforts as «Rushmore,» «The Royal Tenenbaums»), is to have the ability to either pick up on his clipped and funny dialogue (usually voiced by actors in a totally serious deadpan monotone), or somehow connect with his goofy situations and quirky characters that slip between incredibly believable and ridiculously surreal.

Will Eno's dialogue isn't just off - kilter, it's way off center, and both Michael C. Hall and Tracy Letts handle the dazzling wordplay with great deadpan wit.

As with The Lobster all dialogue is delivered in an emotionless deadpan that is increasingly at odds with the events as they unfold.

So please, voters, resist the urge to hand Damien Chazelle this particular award and go instead with the flavorful dialogue and novelistic texture of Hell Or High Water; the rich characterizations of 20th Century Women; the world - building and deadpan hilarity of The Lobster; or the all - of - the - above of Manchester By The Sea, which confirms Lonergan as one of the great dramatists working in movies today.

The standout scene of the brothers» semi-affectionate riff on 1950s Hollywood throws the brunt of their combined talent for writing and deadpan timing into a two - man vaudeville routine of words and manners, in which a sophisticated director (Ralph Fiennes) and a bumpkin - ish actor (Alden Ehrenreich) struggle to get through a single line of dialogue: «Would that it were so simple.»

Returning to this desert - dry whimsical world of misfits, along with Ryan, Posey, and Aiken, is James Urbaniak as garbage - man - turned - poet - laureate Simon Grim, who steals every scene he's in with his succinct and deadliest deadpan delivery of Hartley's epigrammatic dialogue.

Friedkin allows the dialogue to get sluggish and sometimes laughably deadpan.

Starring Joe Mantegna as a slick Seattle con man and Lindsay Crouse as an anxious therapist eager to learn the rules of the trade, the film featured the writer's trademark staccato dialogue delivered with deadpan aplomb by a slew of Mamet regulars such as Mike Nussbaum, J.T. Walsh, Ricky Jay and William H. Macy in a small role.

Moonrise Kingdom Year: 2012 Director: Wes Anderson At the time of making Moonrise Kingdom, after seven features, Wes Anderson became unmistakable: white, upper - middle - class dysfunctional families deadpan wry dialogue amid meticulous mise - en - scène to an eclectic soundtrack.

Even at its best, the dialogue moves slower than it ought to, and the movie's fun - house mirror of real - life craziness (based on the memoir The Taliban Shuffle) never equals the deadpan wonder that Ficarra and Requa brought to the similarly fact - based I Love You, Phillip Morris.

From the looming wide - angle shots that capture the action to the deadpan, slightly askew dialogue (a brilliantly droll exchange about wristwatches is one of the film's running concerns), there's an insinuating anxiety, a vague sense of threat underpinning The Killing of a Sacred Deer.

Characters are all upraised by deadpan humor through oddball dialogue and mesmerizing acumen by the quirky cast.

It's been almost a week since I saw True Grit and my family and I are still speaking to each other in Mattie Ross's deadpan, contraction-less style of dialogue.

The game's absolutely horrible voice acting, easily some of the worst in the genre, compounds the problem, as every line of dialogue is somehow mangled, whether by deadpan voice acting, incorrect inflections that give phrases different meanings than intended, or overemphasis of every single syllable.