Sentences with phrase «for satire with»

East is East is a very funny film that expertly mixes an interesting context ripe for satire with both clever and daft comedy.

While Pat Novak provides some room for satire with his right - wing sensibilities that promote a machine - heavy police state, this RoboCop incarnation is mostly a deadly serious affair.

Not exact matches

one colleague asked with a meaningful look that suggested high - fiving, back - slapping workplaces are great fodder for literary satire but less - than - ideal environments to actually work in.

I sent a satire into The Door once with an idea for a Christian game company that created Christian versions of popular games.

Praising my husband at the city gate with a sign, for example, is hyperbolic satire.

You can have them... you're mistaking the religious imagery of the painting with it's strong satire for something literal.

And for it to be an object of satire although not always with a negative slant.

You can pick from fear of marriage (Honeymoon) or fear of gentrification (Mulberry Street) or fear of art (Mr. Jones); you can stream yourself a reactionary zombie satire (American Zombie) or a heartbreaking portrayal of caring for a parent with Alzheimer's (The Taking of Deborah Logan), and all of these are solid, satisfying horror shows.

I do that with satire, which is a tremendous vehicle for truth.

No longer working for Froben, he had taken service with the Archbishop of Mainz and sent Luther a long letter in December giving him a gleeful account of the cynical reception at Court of satires on the Roman party, and jokes about Aleander and his bonfires.

Empire of the Kop nailed football satire with this superb article, titled «Jurgen Klopp wants to appoint David Moyes as Liverpool's Assistant Manager for his Premier League experience `.

«Saturday Night Live» opened its penultimate episode of the 43rd season with a special message for and from mothers on the eve of Mother's Day instead of its usual political satire.

In that way it's more of an amusing lecture than a piece of stand - up brilliance or incisive satire, but nonetheless for those with a particular political disposition it ticks a lot of boxes.

Gregarious but prone to brooding, working writer, cartoonist and painter with a background in journalism and advertising; born with a penchant for satire, quick witted, empathetic, sensitive, talkative, funny.

In the meantime, when he wasn't earning Emmy nominations for South Park or teaming with longtime partner Parker for the mock - patriotic puppet comedy Team America: World Police (2004), Stone was racking up producer credits on projects like How's Your News — a documentary series featuring disabled reporters exploring various topics — the short - lived political satire That's My Bush, and Kenny Vs. Spenny, which featured two hyper - competitive best friends taking part in a series of outlandish challenges.

It's finally impossible to label Ed tv as anything more than a sporadically effective yet predominantly misguided satire, with the movie, for the most part, paling in comparison to the similarly - themed Truman Show.

As a satire of the media and its craven consumers, I, Tonya sprays its moral tirades and stylistic flourishes like buckshot, but after introducing the present - day, faux - documentary conceit that constantly warps and interrupts the proceedings, its narrative begins in the mold of an underdog sports story, with a young Tonya (Mckenna Grace) discovering a love for the ice between days spent chopping wood and reckoning with her parents» divorce.

Payne weaves a tale that can be viewed as a teen comedy or a satire of a premature midlife crisis with equal satisfaction, and his gift for jokes both broad and subtle has only improved since his last film.

Based on a true story, this spirited satire follows New York City activists Liv and With, who take their crusade for gender equality from the streets of the urban jungle to the courts.

Recouping after 2010's annoyingly unfunny «Dinner for Schmucks» and returning to his political interests after his recent HBO docudrama «Game Change» about Sarah Palin, director Jay Roach and screenwriters Chris Henchy («The Other Guys») and Shawn Harwell (HBO's «Eastbound and Down») have no pretense of making a smart, spiky political satire with teeth.

Robert Altman tore up the filmmaking rulebook in the mid -»70s with this satire on the American country and western scene, for which the cast composed their own songs.

The satire's extremely deft, and even when Lord and Miller, working with animation co-director Chris McKay, indulge their snarky postadolescent sensibilities with one too many torture sequences, the style of the animation doesn't mistake «realism» for «quality.»

They were not, I suspect, prepared for a dark, cynical satire about American machismo and the country's absurd obsession with guns, violence, and, to put it bluntly, obtaining satisfaction off inflicting pain on others.

And this is for good reason: Get Out is a brilliant satire / horror film, and one that is written and directed with absolute precision.

So it's a huge relief to discover that, with «Chappie», the South African filmmaker has re-engaged his emotion chip and ramped up the weirdness factor for this lovably scattergun cybernetic satire.

It can be assumed this is all set up for a third movie, but there is a feeling of the story struggling for attention with the satire.

Kathleen Hepburn's Never Steady, Never Still, a meditative portrait of a mother's battle with Parkinson's while her son comes to terms with his identity, is nominated for Best Canadian Film along with two other exceptional first features: Cory Bowles» Black Cop, a timely satire about an African - Canadian police officer who fights back against entitled white citizens, and Antoine Bourges» Fail to Appear, a quiet and precise study of institutional systems of support available for those on parole.

Jordan Peele's horror - satire Get Out has a single nomination for Best Screenplay, a category he occupies with Martin McDonagh of Three Billboards and Greta Gerwig of Lady Bird.

This incarnation of Fanny may not have been what Austen had in mind, but she surely would have approved, for the injection of attitude and smarts makes Mansfield Park a much more wicked and irresistible social satire, with Fanny frequently needling the pomposity of her rich relations.

Part of that success is down to first - time director Peele's terrific script, which is like Meet the Parents meets Rosemary's Baby, with a heavy dose of George A Romero - grade satire thrown in for good measure.

One would be a broad Hollywood satire about the thin line separating Barry's old profession from his new one, featuring abundant cartoonish violence and punchlines with double meaning for thespian and assassins both, all while treating Barry's day job as a joke in and of itself.

Satirical Story with Divergent Paths and Multiple Endings Playing off common anime and video game tropes for social satire, the player's choices determine how the story progresses, leading to one of many unique endings.

A biting satire of haute - bourgeois French society, Jean Renoir's 1939 The Rules of the Game is beloved for the intricacy of its construction and the mixture of tenderness and irony with which it views its characters.

by Walter Chaw Writer - director Michael Showalter swings for the rafters with his anti-romcom The Baxter and ends up hitting into a double play: it's less a satire of romcom conventions than a meek kowtow before their awesome ubiquity.

A picaresque tale for the 1970s with strong political leanings, it's also a satire, a set of Brechtian parables, a rock film, an ironic pilgrim's progress, etc., etc..

It's the most quotable film of the 2000s — by miles — and the cynical potty mouths on screen are so articulate and creative that, after the avalanche of witticisms, you're left with the lingering sense that you've seen not just a funny movie but also a wicked political satire of the highest order, the kind where the absurdity speaks for itself.

At some point, American Beauty isn't a lean satire so much as a reductive, facile, mean - spirited sitcom that — perhaps inadvertently, for what it's worth — sees Lester's desire for a muscle car, a job flipping burgers, the freedom to call his wife and daughter «bitch,» and a liaison with jailbait Angela (Mena Suvari) as the secret of life.

Played extremely straight by Hutton and with a satisfyingly reserved level of camp by Boyle and Oliver Platt (as a corporate dirtbag), The Temp walks the tightrope of pointed satire for a delirious stretch before being swallowed whole by the great beast known as Faye Dunaway (chewing scenery) and the twisty genre formulas of its conclusion.

Needless to say, this is hardly a film for the devout Catholic not blessed with a healthy appreciation of satire.

The Lobster was a bit of a shock for everyone who went in expecting an off - kilter black romance — instead director Yorgos Lanthimos served up a disquieting social satire with underpinnings of horror as his first English - language feature.

Miller used grim as satire, and gritty as provocation, but for so many others they're empty buzzwords, dull style guidelines with scant meaning and stunted wit.

Barry Levinson will adapt his political satire for the network with Robert De Niro attached as an executive producer.

However you consume them, the behind - the - scenes stories, from John Barry's intentions (he said he thought of it as a love story) to Martin Amis's motivation for taking the script - writing job (apparently he was a sci - fi buff before becoming a novelist famous for literary social satire) to Kirk Douglas's behaviour on set (Amis later said that Douglas «wanted to be naked,» and very much wanted Fawcett to be naked with him), are delicious.

What: Two - time Academy Award winner Alexander Payne (Sideways and The Descendants) is going the sci - fi route for his latest film — in the future of Downsizing, scientists have discovered a way to shrink human beings to five inches tall to combat overpopulation — but with its zany vibe steeped in satire, it still feels very Alexander Payne.

The extent of the film's social satire is its democratic nepotism, with Grant having enlisted family and friends to provide the awful (non-stop) soundtrack and the hate - crime performances, all of which are strung together in the sort of loose narrative (two families gather for the titular shindig) that allows Grant to play both slovenly, gap - toothed protagonist Ringworm and his evangelical brother Snake.

Trapero directs with a high level of energy, employing pop songs (including several Kinks» numbers) to provide rueful commentary and making sure we never mistake the film for some sort of black - hearted family satire by rubbing our noses in the brutality of Arquímedes» methods.

But for a span of time, he was also a dramatic actor to be reckoned with, and Peter Weir's prophetic satire was the beginning of that phase.

Whether it would have had greater success with a tighter focus is another question, but as it stands, Thank You for Smoking is an amusing satire on power and politics without ever hitting the home run it might have.

It's the most quotable film of the decade — by miles — and the cynical potty mouths on screen are so articulate and creative that, after the avalanche of witticisms, you're left with the lingering sense that you've seen not just a funny movie but also a wicked political satire of the highest order, the kind where the absurdity speaks for itself.

DreamWorks competed for the Palme d'Or at the 2001 Cannes Film Festival with Andrew Adamson's fairytale satire.