Sentences with phrase «film than a joke»

There's a bit more to the film than a joke, though, as we get a real sense of Tree learning the error of her ways and confronting the pain at the heart of her attitude on life.

Not exact matches

Even if is not perfect for his awful villains, some unfunny jokes and the character of Captain Underpants not appering much in the film, is still better than any animated movie like Cars 3 o LEGO Ninjago Movie.

Although we joked about «Warrior» above, we actually really enjoyed Gavin O'Connor's MMA film, perhaps even because of (rather than in spite of) its commitment to exploiting every underdog sports movie convention in cinema history.

The characters are readymade jokes unto themselves, and the plots unfolding around them seem like little more than scenes found on the film's cutting room floor.

Some jokes will only resonate with English viewers — a «shut that door» quote from camp Brit comedian Larry Grayson, for instance — but generally the humor's more American than in the Wallace & Gromit films.

Featuring a screenplay by no less than five writers, Flushed Away has clearly been geared to appeal primarily to small children - as evidenced by the film's emphasis on action - oriented set pieces and distinctly broad bits of comedy (there's even a fart joke thrown in for good measure).

Yet the execution isn't as funny as it sounds, with the film more concerned with fart jokes than edgy political satire.

«Just Go with It» has major problems with its lack of wit and exhausted repeated jokes, but thankfully, Aniston's performance is able to boost up the comedy in the film; adding to an amount that ranks higher than many other films that try the same formula of comedy as of this film With Sandler's and Aniston's connection being believable, «Just Go with It» manages to hit the mark for several adults and teens to enjoy.

By my count the film never runs more than 9 minutes without a joke based on feces, farts, or butts.

Smith seems to be lampooning that motivation more than endorsing it, but as with so much of the rest of the film, the jokes just aren't funny.

Why people liked this film????? It is not something more than a joke.

Dave Franco (brother of James) may be much shorter than the real - life Sestero, but without his wide - eyed enthusiasm gradually giving way to disillusionment, The Disaster Artist would merely be an in - joke for the enjoyment of the cult film's rabid devotees.

This movie is a mixed bag on one side is Kevin Hart mostly improvising which give most of, if not all of the film's funny dialogue, he also shares good chemistry with Ice Cube, on the other side the scripted jokes, are most of the time well lame, this fun to watch now than most of the movies are ****

Fey is really quite wonderful in the film, which despite the trailer is more of a drama with some clever jokes than a comedy, per se.

Anyway, the entire purpose of Zoolander 2 — and any comedy sequel made more than 10 years after the original, and comedy sequels in general — is to facilitate the repetition of jokes from the original film among fans who prefer to communicate their thoughts and feelings in movie - quote form, so reference away, referencers.

The visual style of the film impresses, it's just that the jokes never quite catch fire like they should — they are more funny in the mind than in the gut.

Unfortunately this script feels like nothing more than a vehicle for Black who cavorts, chatters and cracks jokes through the biggest chunk of this film — as well as exposing some of his posterior.

(Oddly, one joke that is given time to breathe — and one of the film's few visual gags — is the bit featured in the trailer where Barinholz gets Poehler's music box stuck up his butt; it works better in the movie than in the trailer, but it's still a juvenile choice for a centerpiece.)

At one point, Nick jokes about movies that are made about people who don't do much, a meta - reference to the film itself, but even urban ennui and marital apathy have been captured with more do - nothing honesty than Perry achieves here.

Considering that Smith claims that he made this film for teen girls, not for one moment does Yoga Hosers feel like anything other than a mid-40s writer / director shaking his fist at a younger phone - desperate generation, making inside jokes for the adults in the audience and lambasting the critics that have wronged him in the past.

«Midnight,» however, is considerably smarter than the latter film, which is more concerned with off - color jokes than capturing the intricacies of life.

What I'm not so fond of is the cop - out ultimately taken by the filmmakers, who can't seem to follow through on their promisingly metaphysical premise (let alone the theme of obsessive love), electing instead to eliminate all ambiguity — now would be the time to dig up that gift - wrapped box I told you about earlier — which reduces the film, in the end, to little more than a cheap, if rather expensive - looking, joke.

Other than that, Steve Carell is good as Gru, but the rest of the film is pretty shallow, uneventful, and a predictable kids movie — and well, the jokes die, they die fast and hard.

proper are less outtakes than straightforward, behind - the - scenes looks at the filming of specific shots (primarily concerning the particulars of revealing a turtle's penis and dumping fake semen onto a lizard puppet) that spotlight Smigel's perfectionism — the target of many jokes in the audio commentaries.

Not much more than an in - joke between the actors, this film is amiable but never funny.

Cheadle also does a fine job in the film, but his role is much less central than Gleeson's — he's almost there as a straight man, to play the jokes off of and provide an alternate perspective when it comes right down to it.

It's a gloriously written film, with jokes that are crafted rather than excavated from reams of on - set improvisation1; the success of the punchlines is scattershot and up for debate (connoisseurs of the Borscht belt should find much to admire, but a rehash of Lloyd's lovesick daydream flatlines, due in no small part to an overestimation of the comic chops and kitsch appeal of Honey Boo - Boo's mom), yet there is something bracing about its structural classicism after the last few years of watching the Church of Apatow whack off.

After the film's final credit scrolls by, we see «the end» — a well - hidden joke far wittier than the brutal GoodFellas - influenced gags that predominate.

It works just well enough not to ruin most of the jokes, but one can't help but notice that more effort seems to have been put into the end - credits typography than into any shot in the film.

Douglas herself provides a link to the old world the film idealizes: her grandfather Melvyn, in a different Lubitsch film, told Greta Garbo an even better joke than the one from Cluny Brown that serves as a key line for Owen Wilson's character.

The film's plot — while not exactly unprecedented — is weak at times and sits at the back burner to these guys all trying something cool with the jokes, but I would've preferred, in light of the film like Attack the Block, for this movie to try and embed the narrative into the humour a lot more, rather than just make another The Babysitter with more comedians.

But other than that the film was mostly a forgettable rampage of predictable characters relying on a litany of dick and fart jokes.

The joke that propels the film is that their poorly - conceived plans amount to little more than one of those online «kill your boss» simulators, and Horrible Bosses occasionally seems to acknowledge its plot as a grossly oversimplified game.

The raunchy humor is a bunch of crude jokes that attempt to be more raunchy than the films that have preceded it.

The film does little more than layer joke upon joke and if you're not laughing, there isn't much else to do.

When so many meta efforts boil down to a few back - patting jokes, this film manages to be a sincere, fond, deeply geeky act of fandom that's far more than just an extended act of congratulations for picking up on all its references.

The real laugh is that the film's ostensible moral is to act your age while virtually every joke is stolen from a genre intended for stars and audiences ten - plus years younger than anyone involved, meaning all the sexual insecurity and juvenilia is infected with considerably more than the usual touch of the pathetic.

A few jokes about a torture room might cause some parental squirming but taken as a whole, Minions is a much smarter and funnier film than most would expect.

While praising Jordan Peele for becoming only the third person to be nominated for Best Directing, Screenplay and Picture for his debut film, Kimmel joked, «None other than President Trump called Get Out the best first three - quarters of a movie this year.»

Starting with a painful sequence featuring Charlie Sheen and Lindsay Lohan, the scene sets the tone for the rest of the film, showcasing one of many jokes that continuously miss and go on for longer than they need to.

Going into Wang Bing's latest documentary, Mrs. Fang, I was too busy cracking jokes about how much shorter it is than his previous works (his breakthrough film, Tie xi qu: West of the Tracks, clocks in at nine hours; his recent masterpiece»Til Madness Do Us Part comes in at close to four) and had somehow failed to realize I'd be watching almost an hour and a half of a woman lying on her deathbed.

Luckily, the opening scene is brief despite being clunky, and it passes into a sweeter, genuinely funny film that's more interested in the people telling the jokes than the jokes themselves.

Hardly a perfect film — it may be played too straight for that, never fully getting the cruel joke at its core that provides the picture its pulse — Less Than Zero is one of the strongest artifacts from one of our worst decades in cinema because it puts a finger to what went wrong.

The film's opening sequence is perhaps the funniest stoner - related prank in the history of movies, but it takes a lot more than just one joke to develop a solid comedy.

Although some gags linger, most viewers will probably remember this film as the one involving Anna Nicole Smith (To the Limit, Skyscraper) more so than any of the jokes, as her voluptuous presence does arrest the eye, even if her acting presence fails to make any impression whatsoever.

The film is a good half hour longer than its prequel, meaning there's more opportunities for jokes even if a good hour of the film isn't particularly funny, but having an hour of your comedy not work is never a good thing.

While it is true there's more than one way to be funny, Deadpool 2 is not particularly so, and it contains some of the sort of material that should have been rubbed out of cinema by 2018 (a prison rape joke in a studio film isn't «politically incorrect» so much as it is tasteless).

The most enduring images from the film are those of Cronauer on the air, where he churns out bizarre impressions, off - the - wall jokes, and popular songs that have aged better than the quieter types of music that military radio preferred to play.

Based on the comic book series, the film made more than $ 400 million at the international box - office and was spurred by good word of mouth (despite the controversy surrounding a poorly timed joke during the film's climax).

There's a training montage joke, but rather than reference local films, it calls back to Rocky and The Karate Kid.