Sentences with phrase «deadpan line»

His ostrich walk and deadpan line deliveries are a continual source of delight.

In the trailer, she roleplays Frozen with Kristen Bell (and ends up pointing a gun at her), deadpans the line «I guess orange is the new white,» and has a lot of Zack Morris - style breaking - the - third - wall winks at the camera.

There are also perfect miniature performances from Mason Gamble as Max's chapel partner (for a child actor, he deadpans lines like «with friends like you, who needs friends?»

Her material has never seemed staler, and those deliberate, tumbleweed pauses into which she deadpans her lines are now just gaping abysses where laughs should be.

Not exact matches

Many of the xtranormal videos that have caught on with a big audience have followed a similar formula as this one: the jokes that work tend to be those whose humor relies on repetition and deadpan delivery, since characters say the same lines exactly the same way every time.

Meanwhile, behind the camera, the crew — fronted by a wickedly deadpan Seth Rogen — recite the lines in unison that Wiseau can't get out of his garbled mouth:

November 16, 2017 • We asked the artist behind the popular webcomic Poorly Drawn Lines to share the thinking behind a few of the hilariously deadpan comics from his latest book.

It's a performance full of deadpan non-sequiturs like that one, and Scott nails them, walking a delicate line between innocence and idiocy.

In fact, it probably owes its cult status predominantly to two or three superb lines delivered to deadpan perfection by Caine («you're only supposed to blow the bloody doors off», etc), than any sort of major comic consistency or outstanding action sequences.

For example, after Gerry (Sigourney Weaver) helps Nathan escape using balloons to cover security cameras (a la Ocean's Eleven) she releases them with the deadpan, utterly serious line of, «I hate balloons.»

From there, the rest of the movie is mostly a matter of lining up the pins and winding up the mystery with a nice send - off: a touch of violence, another snappy walk on (sign in, Martin Donovan), and a deadpan gem of a dope hand - off to a suburban mom and kids complete with station wagon (the Golden Fang sinks its tooth of crime in everything).

But there's also plenty that moves the spirit in that uniquely Andersonian way, from the endearing amateurishness of young newcomers Hayward and Gilman (their natural fumbling is perfect for a story about naive first love) to the stellar support lent by Murray, McDormand, Norton and Willis, who each convey a lifetime of concealed hurts with every gesture and deadpan - absurd line reading.

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.»

While Depp continues to deliver his lines with deadpan skill and panache, this adventure feels a little tiresome (and less family friendly than even the previous outings).

Indeed, it's difficult to get worked up when the characters themselves show little emotion and deliver their lines in a strikingly deadpan, monotone manner, even when confronted with inappropriate sexual moments that Lanthimos seems to include just to make his audience uncomfortable.

To be fair, the first half is actually very engaging and interesting, as the terrier Max (voiced with deadpan humor and line delivery by Louis C.K.) and his new humongous furry mutt roommate (played by Eric Stonestreet) escape animal control (following being kidnapped for accidentally straying away from their dog walker), come across what is essentially a mob of unwanted animals led by a rabbit (voiced by Kevin Hart, and as you can probably assume, his performance is energetic and most definitely fits animation).

And the mostly unseen and unknown narrator, played by Campbell Scott with deadpan omniscience, seems to have more lines than anyone.

Another meticulously stylish and deadpan Wes Anderson movie that walks the fine line between masterpiece and folly.

But ultimately it's Walken, who starred on Broadway in McDonagh's 2010 play A Behanding in Spokane, whose mesmerizing deadpan steals the movie, scene by scene, line by incremental line.

Delivering lines as deadpan as you can imagine, she is fully committed to bringing this world to life.

The Cable actor, however, gets serious when he needs to with facial expressions which say all the right words but also deadpans his no - nonsense lines which often end up hilarious in all the right ways.

He's a great comedic actor and has just incredible facial expressions and deadpan delivery of lines.

I love hearing the sarcasm in her voice, the deadpan way she delivers hilarious lines but yes, she does have a «distinctive» voice.

The line, delivered in a deadpan style by «Game of Thrones» actor Peter Dinklage, who voices the AI companion Ghost in Destiny, gave gamers a good laugh and prompted Bungie to assure players that Dinklage would return to the recording booth before the game's release.

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.

The English voice actors fill their roles perfectly, especially the actor for Fang, Kaiji Tang, who nails all of the deadpan delivery of his character's lines.

Typical to a point, the bride steps out of character with an odd sideways look, characterized by a deadpan stare that lies somewhere between resignation and a scowl that would prevent a pick - up line from ever leaving the safety of a suitor's lips, and, worse, chill the will of a nervous groom.

Earl A. Powell III, director of the National Gallery of Art notes, «With his unique combination of technical invention, deadpan humor, and cultural daring, Roy Lichtenstein moved the line between commercial and fine art and changed the way we look at our world.