Sentences with phrase «evening at a comedy»

A very outgoing person who enjoys laughter in my life be it a movie comedy, an evening at a comedy club, Saturday Night Live TV or just an amusing CD.

Not exact matches

It's not the first modern reboot of the retro comedy: Along with two really bad live action movie adaptations, even animators like Seth McFarlane have (unsuccessfully) tried their hand at bringing the series back.

The ceremony takes place at London Olympia and promises to be a memorable evening filled with entertainment and comedy, all in the company of Chelsea players past and present.

(It was one of those things that was totally obnoxious, but even at the time I could see the comedy in it.)

This is, in fact, a lie; the over-used trope isn't even used by the most hack of hecklers at their first comedy gig.

A highlight of the evening, at 6:00 pm, guests will be led on an exclusive tour of the National Comedy Center with a chance to see this exciting attraction before it opens to the public.

Subsequently she had jobs at J.C. Penney, T.G.I. Friday's, and other restaurants before she even started pursuing standup comedy.

As well as the comedy clubs like Yuk Yuk's and The Comedy Cave, you can find great stand up almost any night of the week at various venues around town - like the Monday Comedy Night at Broken City (an evening that's never the same twice runncomedy clubs like Yuk Yuk's and The Comedy Cave, you can find great stand up almost any night of the week at various venues around town - like the Monday Comedy Night at Broken City (an evening that's never the same twice runnComedy Cave, you can find great stand up almost any night of the week at various venues around town - like the Monday Comedy Night at Broken City (an evening that's never the same twice runnComedy Night at Broken City (an evening that's never the same twice running!).

love comedy clubs and quite evenings at home.

Last week, the newly - revamped Jewish dating site, JDate, held an evening to celebrate the «highs, lows and laughs of dating» at a well - known Hollywood comedy venue.

Once finished, walk hand - in - hand to a comedy show at Wilbur Theatre, where an evening of droll wit will leave you rolling in the aisles!

Nothing gives you an better indicator that a date is going well than the sound of laughter but if your jokes are not that good, you had better visit a comedy club to ensure that there is something to smile about at the end of the evening.

Phillips and the writing team of Jon Lucas and Scott Moore throw a wealth of creative twists at the viewer, and even though the occasional misfires are a bit distracting, The Hangover frequently rises to the level of a great comedy, occasionally even flirting with the sublime.

The acting is fine and at times is even inspired in comedy terms.

That arrangement sets the pieces in motion for a riotous buddy comedy in which the duo capture plenty of bounty before hurtling toward their final target, wealthy plantation owner Calvin Candy (Leonardo DiCaprio, over the top even by these standards), who keeps Broomhilda locked up in a dismal existence at the appropriately - titled Candyland.

He knows what feels right in an action film, and even tries his hand at comedy, and that isn't always easy.

Perhaps some like the elevated stakes, but I think the overall plot leaves the realm of amiable comedy and makes things too serious, even if we're well aware of the fact that H&K will be fine at the end.

Billed as a comedy, it is tears - running down - your - face hilarious at certain times, drolly funny elsewhere, slyly satirical at other times, sometimes just plain quirky and even squirmy - uncomfortable in places.

Awful, painfully unfunny and unwatchable comedy that if you even laugh once at I think you need help.

There's little doubt, as well, that the movie's many attempts at comedy fall hopelessly (and aggressively) flat, with Kubrick's decision to seemingly give Sellers free reign contributing heavily to Dr. Strangelove Or: How I Learned to Stop Worrying and Love the Bomb's atmosphere of almost aggressive triviality (ie the majority of this stuff is distressingly free of relevance or even laughs).

Even though it's shot by Matthew F. Leonetti, who also shot Fast Times at Ridgmont High, it looks and feels like any other meat - and - potatoes teen comedy.

... agitprop comedy at its most insane, surpassing even D'Souza's previous screeds.

With Reynolds» charismatic irreverence at its core, the pic moves from bloody mayhem to lewd comedy and back fluidly, occasionally even making room to go warm and mushy.

You'd have to be on crack, never mind weed, to even force a smile at any part of this painfully unfunny disaster of a comedy movie.

The good news is that some parts of this shopping list are checked off with style and grace: Tony and Pepper are still, at heart, the leads in a screwball comedy — and Downey and Paltrow are top form here; the new villain has the comics» Crimson Dynamo's name — Ivan Vanko [Mickey Rourke]-- but instead of wearing the hopelessly out of date crimson armor, wields a pair of plasma whips that can slice and dice even Stark's fancy suit; and finally, there's Justin Hammer [Sam Rockwell — who was a finalist in casting Stark], a hi - tech weapons manufacturer who got Stark's old Department of Defence contracts even though he's not nearly as talented.

STRANGER THAN FICTION, a dark comedy - drama from comedian Will Ferrell (TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY; BLADES OF GLORY) and director MARC FORSTER (QUANTUM OF SOLACE; THE KITE RUNNER) is quite notably funny, and even when you think you're going to regret laughing (I won't ruin the movie for those of you who have not seen it), you do not regret anything at all.

Even though I burst out laughing at certain scenes and moments in the films in this series, this one really is, beat for beat, a comedy, and it makes me laugh pretty hard.

So scary was the threat from North Korea that Paramount even pulled any special screenings of Matt Stone and Trey Parker's Team America: World Police, another comedy that poked fun at the threatening nation.

Comedy, sci - fi, horror, romance, adventure, action, drama, and thriller, it covers quite a lot of territory in a short amount of time, and does so with its own sense of style that makes it different from any other film, even if it is an homage film at its core.

Four writers are credited with the screenplay, which provides Burke with at least half a dozen opportunities to perform full stand - up routines at comedy clubs, a wedding, a retirement community, the courtroom and even a roast at The Friars Club honoring 95 year old actress, May Conner (played by Cloris Leachman).

There's a lot going on, it's confusing at times, the comedy is way overplayed, sure it has problems in that area, but for the entertainment it delivers, nothing even comes close this year.

Written by Freaks & Geeks / Undeclared / KNOCKED UP's Segel — so committed a comic actor that he goes the Full Monty not once, but twice — and directed by Undeclared writer Nicholas Stoller, this heartbreak - kid comedy is very much a Judd Apatow production: It even features Jonah Hill as an obsessed Infant Sorrow fan who works at Turtle Bay.

It's not even that the film shifts wildly in tone as much as the fact that none of those tones work at all: the horror parts aren't scary and, surprisingly for Smith, the comedy bits aren't funny.

This is one of those shows with some promise in some of the characters — and even potential chuckles at the better, weirder jokes — but so clearly emits the sad stench of yet another comedy that that's been cooked too long in a network oven.

Even though you're laughing at his character's expense, and there is comedy there, it was a marvelous performance from him.

Even though it's cartoonish at times, «Very Bad Things» actually works as a dark comedy, filled with graveyard humor.

The hushed, claustrophobic ambience of high privilege and repressed feeling occasionally cracks, as this horror movie reveals itself also to be a rich, agonizing melodrama and a dry comedy of manners set in a fantasy Manhattan of crème caramel wainscoting and black - tie evenings at the opera.

You'd think by that I would mean that the movie tries to be funny and fails, but no what I mean is that there are barely even any attempts at comedy in this garbage fire of a movie.

Perhaps the biggest problem stems from the lack of chemistry between Parker Posey and Paul Rudd, both thespians who normally deliver handsomely in romantic comedies, but never seem to find the right footing to suggest there ever was any strong bond between them at any point, even before their problems with sexual closure.

Lizzie's delight at being in the spotlight freshens up even the earthiest comedy.

To give Grimsby credit, for a lowbrow comedy whose jokes are overwhelmingly rooted in gay panic and treating the bodies of larger women as walking sight gags, it's surprisingly good - natured, even sweet at times.

From horror and comedy to works that defy genre classification, these films will keep you wide awake, even at the most arduous hour.

Even so, as a comedy, it has a trickier run at recognition (though depending on which category Dench and Thompson end up in, she might end up winning the Golden Globe for Comedy / Musical, which could comedy, it has a trickier run at recognition (though depending on which category Dench and Thompson end up in, she might end up winning the Golden Globe for Comedy / Musical, which could Comedy / Musical, which could help).

We are now at a time when this comedy mainstay is even more entertaining than his characters.

In the comedies of Jared Hess, even Napoleon Dynamite but moreso his follow - ups, it's easy to ask if viewers are supposed to be laughing with or at the characters.

Even those who find extended success at a certain kind of picture — say, Will Smith in heroic sci - fi action or Adam Sandler in goofy romantic comedies — eventually find audiences growing tired of their shtick and wanting them to challenge themselves.

However / whatever the fates aligned that allowed Dan Gilroy to make the film — a thrilling, blackly funny character study - cum - success story in the vein of «King of Comedy» with hints of «Taxi Driver,» all under the guise of a «Network» - style harsh media critique — is moot at this point, because the film should be a lasting work that should find even greater appreciation with time.

The comedy and drama are heart felt and affectionate (even if the characters would snort with derision at such emotion).

The beautiful mix of drama and comedy comes from Oscar winning screenwriter Simon Beaufoy (127 Hours, Salmon Fishing in the Yemen), meaning it's beyond cheeky and sarcastic while at the same time driving home the type of message that even press and industry members cheered for at the Toronto International Film Festival.

A major set piece at the Friars Club and assorted scenes at the Comedy Cellar never feel genuine, even though they were shot on location and are populated by real - life comics.