«The New Guy,» apparently, is following the new school of
film comedy established by «The Sweetest Thing» in which continuity is discarded for random gags.
Not exact matches
With his friend and longtime collaborator Bud Yorkin, Lear
established Tandem Productions in 1959, for the purpose of turning out quality TV specials and
comedy theatrical
films.
Russell pokes fun of his weight, makes ludicrous power plays to
establish his dominance in prison, and invites a number of deeply uncomfortable jokes about his inevitable sexual abuse in prison — a line of
comedy that feels even more unwelcome given that the
film's cast includes an accused sexual assailant in T.J. Miller, who needlessly returns as Deadpool's best friend, Weasel, in a few throwaway scenes.
Dorsey's movie career ranges from heavy drama (WALK THE LINE), to lighthearted family
comedy (JUST LIKE HEAVEN, Disney's GIRL VS. MONSTER, and the American Girl series MCKENNA SHOOTS FOR THE STARS), but her appearance in the Golden Globe ® and Academy Award ® nominated
film MONEYBALL
established her as a bona - fide star.
As the first
film had a pretty terrifying thing going on, this second offering really goes against what the previous
film established and plays out more like a
comedy horror
film.
Nicholas Stoller makes his directorial debut and it's obvious he hasn't been «tainted» by the
established mindset of how to
film a romantic
comedy as he has a «anything goes» mentality.
Robin Williams went on to
establish an amazing career in both stand - up,
comedy and feature
films.
Not everything he's made has been a hit, but the last few years have seen Nicholas Stoller
establish himself as one of the more reliable
comedy directors in the business, with
films like «Forgetting Sarah Marshall,» «The Muppets» (which he co-wrote) and «Get Him To The Greek.»
The
film works hard at this, not only by offering something of a history lesson, but also by strongly
establishing how different the
comedy of San Francisco stand - ups was when compared to
comedy being done around the country.
This stoner
comedy sequels picks up where the first
film (released back in 2001) left off and follows the Super Troopers who are tasked with
establishing a Highway Patrol station in a border area between the US and Canada.
Given that Germany, with few exceptions such as the
comedy genre and the history
film, does not have a well -
established genre
film tradition anymore (at least not on the big screen), the only way to rejuvenate such a tradition is by explicitly committing to producing many genre
films for the cinema.
With a career that spans nearly 40 years in
film and television, Nighy
established a solid reputation in his native England long before his international breakthrough role in the Golden Globe nominated rock
comedy Still Crazy in 1998.
The tenor of the screenplay by dual writing teams Bob Fisher and Steve Faber (Wedding Crashers), and Sean Anders and John Morris (Mr Popper's Penguins), is also
established in the brief exchange, with the crude and uncouth championed as the apex of the
film's
comedy.
The
film marked the transition from small to big screen for a young Joseph Gordon - Levitt, having previously
established himself in the extraterrestrial
comedy series 3rd Rock from the Sun.
Carroll actually made her
film debut in 1954's «Carmen Jones» and was an
established recording artist, Broadway star («No Strings») and groundbreaking sitcom star («Julia») when she earned a lead actress nomination for the charming 1974 romantic
comedy «Claudine.»
Per the standards long
established in the road trip buddy
comedy (a subgenre also embodied by
films like Midnight Run and Tommy Boy), the mismatched men of course endure high - spirited adventure and outrageous obstacles en route to their destination.
Carrell made the
film after a string of solid supporting roles in similar ensemble - oriented
comedies but before The Office
established him a small screen star and plays the role as amiable if socially awkward, with an undercurrent of melancholy in his isolation from the rest of the world.
This opening scenes quickly
establish the tone of the
film as a whole — mixing sadness and
comedy to approximate something like life itself.
As far as the
film goes, Key & Peele bring their long
established chemistry to their roles and are able to present and execute some hit and miss
comedy, but overall this
film is extremely over the top, outrageous and pure ridiculousness.
The
film also fails to
establish a consistent tone, sampling a variety of genres (from dark
comedy, to crime thriller, to blue - collar drama) like a kid at an ice cream shop who can't make up his mind.
The movie isn't perfect as I felt it at times had a hard time
establishing its identity as either a
comedy or a drama, but I did indeed laugh plenty of times throughout the
film.
Robin Wood
established the canonical distinction between the action
films and screwball
comedies in Hawk's oeuvre.
In real life, these two young actors are also facing different stages of life: Efron, the buff, fresh - faced one, is recently out of rehab and trying to
establish a career as an adult while Rogen, the R - rated
comedy king and notorious pothead, is a busy, married producer of his own
films.
Yes, you read that right: An
established comedy star and a hot up - and - coming
comedy star are joining forces for a
film, and it's a...
in the adventure
films it is a threat held at bay by the values of the group (self - respect, loyalty, spontaneous affection and sharing); in the
comedies what is threatened (the
established social order) is not valued, and the eruption of chaos becomes liberating and positive.
But the key member of the so - called «mumblecore» independent
film movement reached a new level last year, when his romantic
comedy Drinking Buddies was a modest hit, especially on V.O.D. Working with
established stars like Anna Kendrick, Olivia Wilde, and Jake Johnson, Swanberg made his work available to a bigger audience than ever — which puts more attention on the two new
films he had showing for audiences in January alone.