Sentences with phrase «dramatic comedies like»

Dramatic comedies like this have noticeable diminishing returns over the course of a lifetime of watching film.

Not exact matches

I like a lot of horror and comedy animes, but I also find myself wrapped in dramatic or slice of life ones.

Lister - Jones is also generous enough an auteur to allow for memorable moments from others, whether it's hilarious bits from the likes of Retta (as Anna and Ben's unlucky marriage counselor), Brooklyn Decker, and Jamie Chung; the escalating weirdness of Armisen (who was, of course, a seasoned indie - band drummer before he turned to acting and comedy); or a knockout dramatic scene between Pally and the great comedian Susie Essman as Ben's mother, who provides some invaluable advice.

It effectively mixes cheeky comedy with dramatic elements; the end result feels a lot like Adventureland, not necessarily in terms of plot particulars but in terms of tone.

While the premise sounds depressing, the tone actually takes a romantic comedy - like approach, from the «meet cute,» to the maudlin sentimentality, to the begging - for - one - more - chance set against a dramatic backdrop.

They like rewarding predominantly comic actors for taking a darker dramatic turn, even if the degree of difficulty isn't notably higher than in their comedy work.

With such a farfetched plot already in place, this is the sort of film that could have easily degenerated into a muddled farce with a one - note stand - up comic as the lead, but with a good comedic and dramatic actor like Kline at the forefront, he is able to keep the tone of the comedy and drama appropriate to each scene.

I feel like it had great potential to either be a hilarious comedy or a touching drama, but instead, it feels like two different movies awkwardly sewn together, instead of a seamless, singular whole; the comedic elements undermine the dramatic scenes, and vice versa.

When it comes to this crop of nominees, there seems to be a movement towards bigger, stronger, more popular casting and films like Adam McKay's The Big Short and Alejandro González Iñárritu's The Revenant — the former a dramatic comedy centered around the collapse of the housing and credit bubble of 2008, the latter a brooding take on life on the frontier in 19th century America — epitomize star - studded casts.

Bill Hader stars as the title character while also making his directorial debut on this half - hour comedy, which promises to give the former SNL star a showcase for all that dramatic range he's previously uncovered in movies like The Skeleton Twins and episodes of Documentary Now!.

If this episodic, lightly dramatic comedy has any pivotal event, it's when she clams shut like thunder, behaving as if an unforgivable slight has been dealt out.

At points it feels like a comedy, then other times they try to make it feel more like a horror movie and there are points when dramatic pieces are brought in.

There's so much ire directed at Sandler now that I think a lot of people conveniently forget his earlier comedies like «Billy Madison» and «Happy Gilmore,» as well as some of his dramatic work like «Punch Drunk Love» and «Funny People» (the latter of which I didn't like, but I blame Apatow for that one more than I blame Sandler).

Of the dramatic films that I saw, and, like everybody else, I missed a slew of likely contenders, the best was probably Nicole Holofcener's «Please Give,» a pleasant enough comedy about a married Manhattan couple, played by Catherine Keener and Oliver Platt, who resell estate - sale furniture.

While he too has had success in dramatic films like Eternal Sunshine of the Spotless Mind, his recent batch of comedies hasn't struck gold as they did in the»90s and early 2000s.

Although they may seem like an odd pairing at first since they previous co-starred in the comedy This Is the End, they have a strong dramatic rapport.

The films beat out a number of other worthy contenders like Gregory La Cava's Stage Door, Frank Capra's dramatic fantasy Lost Horizon, the Darryl F. Zanuck - produced drama In Old Chicago, and the Cary Grant - Irene Dunne screwball comedy The Awful Truth.

Much like The Big Short, there are spurts of comedy throughout, but the heart of the film is dramatic and tells a cautionary tale.

Like the Golden Globes, the ACE Eddie Awards divide the motion picture categories up into «dramatic» and «comedy,» which means Get Out is again strangely regarded as a comedy.

The underutilized Brie Larson, who blindsided nearly everyone with her dramatic chops in «Short Term 12» (she'd appeared in mostly light comedy up until then, and even started as a teen pop singer) is once again in terrific form, and it's probably only a matter of time before she leaves behind relatively unremarkable roles like the object - of - affection in «21 Jump Street» for good.

No Reservations looks like the by the book dramatic crisis romantic comedy, complete with a cute little kid (who you might reccognize as Abigail Breslin from Little Miss Sunshine).

This is McKay's first dramatic turn after directing broad comedies like Anchorman, and The Other Guys, and he handles the change well, infusing the film with much needed levity when needed.

As was the case with Feig's casting of Jason Statham in Spy earlier this summer, including dramatic actors like Williams and Garcia in his newest production should lend some weight to the comedy.

«I'm always more of the dramatic force, so I'm always like, «Let tragedy befall these people,» because I think that great comedy comes out of it, and great drama.

From that description, you'd almost think the whole thing is a motivational sports drama like Warrior or The Blind Side, but the dramatic part of the movie is disguised by the comedy of Kevin Hart and Alan Arkin who plays Razor's trainer, Louis «Lightning» Conlon.

«I feel like it's a truly feminist version of a romantic comedy,» says Deutch, whose character, Harper, provides the comedic and dramatic substance of the story.