Sentences with phrase «farce played»

George Clooney gets top billing in the Coen brothers» new comedy, an espionage farce played with a straight face, but it's Frances McDormand's desperate, single, health - club employee who really drives this ensemble.

Maybe that's why the film often feels like a sex farce played at half - speed, with the more measured pace evoking a sense of pained autumnal reflection.

Or come to that, how about looking at the farce playing out in Washington — one in which Patrick Michaels happened to have played a large, if unwitting, role — namely the so - called suppression of the EPA's Alan Carlin.

Not exact matches

The bad news is that human society is a never - ending comedy of errors in which our hopes and dreams play out as farce.

Besides, are you suggesting that we suppress anyone's right to free speech because if you are than you need to move to one of these bass ackward countries where a less than middle school quality production of a total farce can insight people to act as a pack of rabid dogs blaming America for why they live in dirt... We are LUCKY and BLESSED to live in a land where we can smile and walk away from an opinion that we disagree with... that South Park can but Jesus in a boxing ring against Satan and depict Moses as a glowing spinning dreidl... and these nutcases want to burn and pillage because one lunatic makes a childish and stupid play on videotape?

More concerned about Wenger's inability to change anything in play, he appears to carry on with the same set up, Spurs game was a farce, camped in our half against a 2 man team, ridiculous.

Financial Fair Play is a farce, Wenger's plans have failed.

Arsenal might be winning games again but let's face it their performances have hardly been inspiring.Far and away their best performance so far was a defensive hard earned 0 - 0 away draw to Chelsea.Its a long long time since Arsenal.played a style of football which was fast moving, free - flowing and with consistently positive end result.The media still seam to tar them with that same brush but truth be known the likes of both Manchester clubs, Liverpool and Spurs are far more entertaining to watch these days than Arsenal's tippy - tappy sideways brand of play Hopefully they will be able to build momentum in the coming weeks and inspire confidence prior to the Citeh and Spuds games... otherwise this Season will unfortunately develop into even more farce than Wenger, Gazidas and Kronke managed to orchestrate last year and the Emirates will empty out even more noticeably!!

Saturday Pep sat out 5 or 6 first teamers in preparation for the Gunner game and still won easy that's how big of an advantage they have, all Munich have to play for each year is the CL, the German is a farce just like the Spanish and French leagues

Despite the strength of their acting, and the tightly coordinated farce, the play does descend too far into utter madness.

Gone are the days of reviewing the stage performances of a play which is not only still being written right in front of you, you sometimes can't tell whether it's a drama, a farce or a comedy.

In its final lap The Winning Season collapses into a sentimental farce that even Mr. Rockwell, now playing the clown, can not redeem from cringe - inducing hokum.

In stage plays like «Fan» and «The Importance of Being Earnest,» Wilde used wickedly sharp dialogue and glittering farce as scalpels, laying open the hypocrisies of an Edwardian upper - class audience that only felt the sting on the hansom - cab ride home.

After playing a bit part in Almodóvar's outrageous, if unpolished, Pepi, Lucy, Bom (1980), Roth starred as the unsubtly named Sexilia in the director's sex farce Labyrinth of Passion (1982).

Just a few years before The Great Escape would catapult Steve McQueen to stardom, the charismatic actor played the lead, Lt. Fergie Howard, in this light romantic farce involving the computers on a Navy ship.

In the tediously overworked suburban - noir farce «Game Night,» Jason Bateman and Rachel McAdams play Max and Annie, a happily married couple who love each other almost as much as they love Taboo and Pictionary.

In 2004, Wayans directed the farce White Chicks, about two black FBI agents, Marcus and Kevin (played respectively by the director's brothers, Marlon and Shawn), who disguise themselves as Caucasian sorority girls to foil a kidnapping plot.

Ghost could easily play as farce, but the director doesn't allow that to happen, keeping comedy, fantasy, and visual effects to a minimum.

With «The Kids Are All Right,» Lisa Cholodenko interestingly courted mainstream audiences, playing gender roulette with classic rom and bedroom - farce formats; the result was arguably her most well - rounded film, but still not as sensual or electric a study of lesbianism as her 1998 breakthrough «High Art.»

But for all its ripped - from - the - headlines urgency, Polisse plays out as something close to a histrionic farce, with endless scenes of the detectives themselves verbally and / or physically abusing suspects and colleagues, railing against Sarkozy, and holding forth about their personal lives in the company of a photojournalist (played by the director) assigned to document the unit for a government - sponsored book.

TCM Select Pick of the Week: Some Like it Hot (1959), Billy Wilder's best loved film and the AFI's number one pick for best American comedy of all time, plays the St. Valentine's Day Massacre for farce when the two musicians (Tony Curtis and Jack Lemmon) who witness the brutal gangland slaying elude mobsters by hiding out in an all - girl band.

That's all you need to know, really, because «The Birdcage» is mostly a comedy of character married to traditional farce, and in true farcical fashion things just get crazier and crazier — starting the moment that Armand decides to play it «straight» for his son's potential in - laws and masquerade as a «couple» with the boy's natural mother (Christine Baranski).

Bottom line: Robin Williams plays off of a flaming Nathan Lane with delicious understatement and anchors a farce that moves along at a brisk pace — with or without heels.

It's the return of the unintentional farce of «something has fallen and can't get up» movies featuring Gerard Butler as a secret service agent assigned to protect the President of the United States, played by the perpetually strong - jawed Aaron Eckhart.

His scenes play like misplaced farce, with a series of insults and a bizarre chase scene involving 1970s - era feds and a giant stuffed teddy bear.

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

I'd wager that a poll of exiting audience members unfamiliar with the original work would yield a much higher percentage of viewers who might regard what they've just seen as a drama with moments of comedy, rather than the ribald farce most who are familiar with the play know it to be.

, Black and Crudup play out a scene of high farce as two doped - up irredeemably incompetent orderlies - ER it ain't.

by Walter Chaw Christopher Smith follows up his listless slasher - farce Severance with the handsome - looking Black Plague / witch - hunting flick Black Death — a well - played, well - conceived piece that's ultimately distinguished by a few sticky after - images, even as it doesn't quite get to where you hope it's going.

In Trumbo directed by Jay Roach, he plays the titular character with an outlandish caricature - style panache that anyone else could so easily have turned into pure farce.

Strange, but had this played as a drama instead, perhaps there would have been more laughs due to a subtler approach, but the makers of the movie intend to deliver a broad, hilarious farce, the stuff of which screenwriter Hugh Wilson seems incapable of delivering.

Finally, the Trailer Gallery merely plays the same promos that appear at the start - of - the - disc, previewing In the Shadow of the Moon, Bordertown, Pigs, Farce of the Penguins, and the Strangers with Candy movie.

The rapport between Parham and St. Clair has been well developed over a decade - plus of working together, and even though the stories in «Playing House» rely on fairly typical domestic farce, the quality of the dialogue and performances makes even the weaker episodes a treat.

Much of this is played as farce, verbal or physical.

But it also attempts to be farce / comedy, playing off Southern stereotypes of beer - drinking rednecks and «Toddlers and Tiaras» pageants.

The whole thing is played pretty much as a farce and because of that, there's barely a sense of peril.

The film is adapted, very well, by Robert Carlock from a memoir written by the real - life American TV reporter Kim Barker, but given that Carlock is one of the main writers on 30 Rock and Fey is the star, this could easily have descended into broad farce — a sort of Liz Lemon (the screenwriter she plays in 30 Rock) Goes To War, if you like.

Murky subplots also abound regarding a 30 - ish co-producer (Alexander, «The Worst Week of My Life») who has her sights set on Adam, willing to nab him at any cost, as well as Jon Lovitz (The Benchwarmers, Farce of the Penguins) playing Rosie's ex, who appears from time to time to try to add a few more zingers to the mix.

There's nothing funny about Funny Money, a woefully inept farce based on the London play by Ray Cooney.

It's not a feature or even a short, per se, more of an experiment shot to accompany a production of the theater farce «Too Much Johnson,» but at least the first section plays just fine on its own as a tribute to silent slapstick comedy with Joseph Cotten doing Harold Lloyd antics and Buster Keaton chases as a serial philanderer pursued by a jealous husband.

And so ensues cross-dressing-caused confusion and comedy as only an 18th century theater farce would play out — meaning suspension of disbelief is very much required, particularly whenever the very feminine Sorvino is supposed to be taken for a man.

It's a whimsical pic that forgets about farce or anything lurid, and instead plays it straight as dramedy.

Identity Thief is all over the map when it comes to the kind of film it wants to be, sometimes playing like a wacky farce, sometimes as a black humor raunch-fest, sometimes as a silly thriller with laughs, and sometimes trying to draw out even some touching moments in a mismatched buddy road - trip comedy, a la Trains Planes and Automobiles.

It is possible that once the film turns from out and out farce into more of a core relationship film that it might falter just a tad, but the script sets up their relationship so well and so unconventionally (it lovingly refuses to give in to the storybook ending), and Lemmon and MacLaine are so good at playing their parts that to me the momentum never falters (take, for example, the way MacLaine mimes the number three the same way Lemmon does after she sees him do it earlier; it's the little things).

It's a farce, wrapped heavily in stylistic overtures, with maybe a half - dozen introductions to Chicago and to «Chi - Raq,» including Nick Cannon's «Pray 4 My City,» played with lyrics blazed across the screen, and Samuel Jackson's pimplike narrator, Dolmedes, who raps, «We can't take this much more.»

It's the sort of premise that could easily be played for plate - smashing histrionics or delirious romantic farce, and there are shades of both.

The play is about a dysfunctional Irish family, living in a grotty London flat, who each day enact the same ludicrous farce detailing the supposed circumstances around the father's departure from Ireland.

Call it a national farce and a tragedy that what is obviously an auto - mythology plays so much like objective, sober documentary and evening newscast.

Labor Day is well cast and played with conviction by its three leads, particularly the ever - reliable Winslet who, despite being bizarrely cast as a dowdy housewife, manages to be heartbreaking even when the film borders on farce.

The farce doesn't work because it's played straight, and the fluffy inspirational material doesn't work because, well, we've seen it so many times and would much rather have the off - the - wall stuff.