Paddington manages a number of consistently
funny running gags that keep the movie lighthearted even in the face of an incredibly creepy subplot in which a Cruella De Vil figure (played by Nicole Kidman) wants to kill and stuff Paddington.
One of
the funniest running gags is Megamind's mispronunciation of everyday words: school becomes «shooool,» while Metro City winds up rhyming with «atrocity.»
Not exact matches
Tiger Woods, like Mamie Eisenhower in that long -
running, depraved yet wickedly
funny National Lampoon
gag back in the day, is not dead yet.
There is one
running gag that really annoyed me and it involved one of their friends from their childhood thinking he's
funny and he kept making these painfully bad jokes.
The lowbrow
gags are
funny, but the whole gross - out thing has pretty much
ran its course: there are only so many different bodily fluids you can play around.
The
funniest bits are asides (like flashback montages) or
running gags, which simply jab at unrelated things.
The
running gags about Hagrid breaking things and telling people things he shouldn't have done are
funny throughout, as are all the bad things that befall Neville Longbottom over the course of the story.
For example, there is a
funny bit where Kevin James» character, Eric, is a little too attached to his mom (the super adorable Georgia Engel from The Mary Tyler Moore Show), but they chose to spend more time on a stupid
running gag: Eric has the ability to «burp - snart» (burping, sneezing, and farting at the same time).
The characters in Clint Eastwood's dark, rugged, perversely
funny new Western are so seriously compromised that their flaws almost add up to a
running gag.
Of course, they can't have one nonstop fart to fill the
running length with, although they do give it a valiant effort, so they throw in a virtual kitchen sink of random «
funny» characters and
gags, none of which feel like they belong in this movie.
The two hour
running time isn't a problem because, even though this isn't the
funniest film of 2013, you keep hoping that the next
gag will work.
But the film is often very
funny with great
running gags and an inspired Chevy Chase turning in one of his better performances.
His earlier films,
funny as they are, are hampered by unevenness and overemphasis, and by the kind of selfcongratulatory distrust of the audience that makes Brooks hold his shots too long, zoom in insistently on his sight
gags, use the same joke again and again under the misapprehension that that makes it a
running gag, or — when in doubt — have an unlikely person say «bullshit» or burst into Cole Porter.