Sentences with phrase «funny scenes like»

I get the feeling I'm in the minority here but aside from a few really funny scenes like Jen Aniston asking for her slutty little mouth to be fucked, Horrible Bosses comes up lame.

Funnier scenes like the one in which the guys try to pee after taking Viagra are scarce and treating women like objects (even if they don't seem to mind) can never be construed as romantic.

Not exact matches

And I LOVE your house, style and blog but it's funny that some of my favorite posts end up being the real life «behind the scenes» stuff like this:)

Posts like «Topics to Steer Clear of on a First Date» and «5 Categories of Women to Avoid» are fearless in examining the realities of the modern dating scene and include funny and thoughtful input.

Hey I'm Derrick I work ALOT lol so really don't have time for the whole dating scene so here goes I'm looking to meet a girl with a good head on her shoulders cute funny a little bit country and not afraid to get dirty I like to go fishing riding shooting boating hobbies are working on cars or...

Like online scene for its simplicity and the funny service dating ability to see who know about.

Like the second installment American Wedding has its moments and there are a handful of truly funny ones including a scene in which Jim shaves his pubic area and dumps the hair out the window where it blows towards a group of unsuspecting guests (and the cake).

For all the odd lines which are funny or bizarre, these scenes feel like four episodes of Whose Line Is It Anyway?

Played from its opening whimsical guitar score as a sweet story about friends, the dynamic of a real - life, Apatow - brand bromance is prominent, and makes for a few funny bonding moments, like when Tommy has Greg loudly rehearse a scene in a restaurant as a ridiculous gesture of fearlessness.

The only real thing I liked in this film was the scene with the three little pigs being bad mercenaries, but the funny thing about it is that Cheech marin plays one pig and Chong plays another, and I found that pretty funny actually, but the rest of the film is just crap, and Is undoubtedly the worst film I've seen this year.

Wiig has been the funniest person on the planet for a while, ruling SNL when she was on it, stealing scenes in movies like «Knocked Up,» and now, in this script she co-wrote with Annie Mumolo, who plays her airplane seatmate in the film, she's front - and - center in all of her awkward glory.

Almost all of the best scenes are the funny ones - or the ones that start dark, then turn funny, like Tommy brainstorming with Mike (Mike Lombardi) on the best way to euthanize his ailing mother.

Part of the story is fit for a comedy, but this film isn't funny at all, which includes the scenes where it seems like it's trying to be.

one aspect that i like about it that alot of the cut scenes are related to star wars which makes it pretty funny to watch.

Except for a few outlandish scenes like this, the tone remains charming and funny while maintaining a refreshing level of maturity.

Tom's reaction when his friend gets injured on the half pipe (licking the wound like a cat), the baby delivery scene, the way Tom eats his sandwich whilst watching the horses, the backwards man and the aqauaman scenes - so original - so funny - such genius!!!

A scene where Fred goes to a «Siblings Anonymous» meeting and he rubs elbows with the likes of Frank Stallone, Roger Clinton and Stephen Baldwin has the makings of a funny skit comedy, but they couldn't really find a funny angle other than the initial idea.

From its opening scene slowly falling down Violet's closet in a continuous panning shot that makes her hat boxes and skin - tight dresses seem more like a modern city than a wardrobe, Bound quickly proves itself as a tightly constructed (and unexpectedly funny) lesbian noir with incredible camerawork, solid acting by the entire cast and tight pacing that'll keep you feeling empathizing with Violet, Corky and Caesar as their high - stakes game take several reversals of fortune.

However, so many people were so convinced it'd be a hoot, they'd laugh at scenes that weren't remotely funny, like graphic, cold - blooded murders.

This gives us an opportunity for a chase scene on a mountain road that turns out to be, like so much in the film, foreplay, plus some not at all tense would - be thriller moments and one pretty funny joke.

A number of Kelly's scenes play out like stand - alone sketches — some quite funny; not all of them essential — rather than parts of a whole.

Among the supporting players, the movies sees fine performances from the likes of Diane Lane as Rusty's sometimes girlfriend, the then - little - known likes of Nicolas Cage (Coppola's nephew and the son of August), Chris Penn and Vincent Spano as members of Rusty's gang, Laurence Fishburne as a local go - between and Sofia Coppola, billed as Domino, who is funny and charming in a few brief scenes as Lane's bratty younger sister.

The idea behind the scene is funny, because what can we expect from a movie like Cop Out, which quickly establishes a nine - year partnership between two cops played by a straight - up straight man like Willis and an absurdist, stream - of - consciousness comedian like Morgan, except the formulas and clichés to which we've become accustomed?

Add to that a script full of successful jokes and memorable scenes like Billy's hilarious dodgeball game on his first day of school, and you've got a movie that's funnier than it should be.

But does all the referencing and homage — and not just to Demy, but also to Golden Age Tinseltown productions like An American in Paris, jazz greats like Miles Davis, and even (in the film's funniest scene) the English new - wave band A Flock of Seagulls — add up to much of anything original?

Next Movie feels much more like the deleted scenes of their first and much funnier film, Up In Smoke, than it does as a stand alone piece.

Unfortunately this film is not one of my favorites, it plays more like a slapstick comedy, which is not funny, with a few decent action scenes chucked in.

Ted is hobbled by a labored third act and a subplot involving a demented loner played by Giovanni Ribisi that is so ragingly gratuitous, it almost feels like an homage to the famously unnecessary diamond - smuggling subplots of the»80s, but Ted is so consistently, even explosively funny and oddly good - natured throughout that it really doesn't need a plot at all, let alone an even - less - welcome chase scene.

Glacial, but unexpectedly funny in spots, the latest from the reigning king of «style for style's sake» is a cautionary tale about beauty and the fashion industry in which everyone looks like a vampire and every scene sounds like it was recorded in a mausoleum.

It's unexpected and raunchy and funny but also rooted in friendship and a practicality that unites the dueling agendas of the film like few other scenes.

It hasn't been a particularly memorable year at the movies, especially for those in search of a good comedy, so it's a relief to see a film like «We're the Millers» arrive in theaters, because although it's not as funny as its behind - the - scenes talent might suggest, it's one of the better comedies released thus far.

Hill is a lot more annoying in this installment, especially when left to fend for himself, but Tatum is so damn funny as the loveable, dim - witted jock (like a big puppy dog that just wants to play catch all day long) that he makes every scene more enjoyable.

We'd be foolish not to give some sort of shout out to other terrific scenes throughout the year, like the hilarious funeral sequence in Li» l Quinquin, which had us doubled over from laughter; both the border crossing and night vision sequences in Sicario; the ending of Carol, which should get an emotional response out of even the coldest souls; the opening long take in Buzzard, a painfully funny experience much like Entertainment; the bonkers final act of Jauja; a scorching scene from The Fool where the town mayor lays into her corrupt staff; everything that happens at Mamie Claire's house in Mistress America; the intense argument between Gerard Depardieu and Jacqueline Bissett in Welcome to New York; the tightrope sequence in The Walk, and much, much more.

Danny's occasional outbursts of rage, like an opening scene focusing on the stress of finding a New York City parking spot, are cathartic and funny — in part because Baumbach often cuts them off mid-scream and in part because Sandler does have a funny screaming voice, at once furious and desperate.

It makes us laugh squarely at the ridiculousness of Belfort's appalling behaviour and the things that he and his friends say, like some career advice from Matthew McConaughey in a very funny early scene.

Existing in a timeless not - quite - reality that tips its hat to»80s classics like «Stand By Me» and «The Goonies» while blending it with an up - to - the - minute sense of humor that betrays Vogt - Roberts» links with the current comedy scene (big - name stand - ups like Kumail Nanjiani and Hannibal Burress have cameos), it's certainly the funniest film we've seen in 2013 so far, minute by minute.

However, while I'm not wild about deleted scenes in general, these are gold because (like its sister show «The Office») they're generally very funny stuff that just made the episode too long.

Films like «Little Miss Sunshine» and «Knocked Up» display scenes of character development that happen to be funny.

But too often even the best episodes, like Season 2's free - wheeling «Shrooms,» feel like deleted scenes from producer Judd Apatow's Knocked Up or Funny People stretched into overstuffed short films.

Another involves the marital happiness of one of its characters, Simple Simon (O'Dowd, «the IT Crowd») whose relationship and nuptials are barely set up before we have feel - good scenes of partying and marriage, only to follow it up with seeing the young man's heart crushed in a wholly manufactured and not terribly funny gag that his bride (January Jones, We Are Marshall) only is using him to get closer to the object of her obsession, the flamboyantly popular DJ Gavin Cavanagh (Ifans, Garfield 2), is, like many scenes in what is a lengthy film for its type, not only a needless and long side distraction, but there's no payoff in either laughs or carrying forth the themes.

Like Michael Haneke's Funny Games, A History of Violence is telling the viewer «if you've come to see violence, here it is», and his handling of these scenes is sharp, brutal and often horrific.

Max and Annie, playing along, still think it's all just a game; there's a very funny scene of the two of them jokily threatening the kidnappers in a dive bar, spouting speeches from «Pulp Fiction» and twirling a loaded pistol like a water gun.

There are lots of lewd (and sometimes improbable) descriptions of sex, and the men on the other end of the line turn out to be weird and played by recognizable actors (Also not helping the gender stereotype is that one of these cameos constitutes the only genuinely funny scene in the movie: Seth Rogen trying to complete his business before he has to fly a plane and talking like a pilot checking off his instruments the entire time).

Their scenes together where he brags of his impossibly over the top exploits (like sewing his own arm back on after it was severed in the field) are excruciatingly funny.

Katherine brought one other thing to the show — competition for Bree in the Make - Martha - Stewart - Look - Like - a-Piker Sweepstakes and Adam's profession [gynecologist] led to some unusual [and unusually funny scenes early in the season.

I'd like to see what he could do with a project where he doesn't just rely on McCarthy's abilities to be funny in order to fill a scene.

Whatever the semantics, the movie's funniest scenes — like the one set during midnight Mass or a text - based conversation in which a happily married, straight man feels compelled to talk about a complete stranger's genitalia — follow a through line from one mistake to the next.

What it did have in common with the Coens» previous work wass a gallery of great performances (Isaac's impressive turn is ably supported by the likes of Carey Mulligan, Justin Timberlake, F. Murray Abraham and Coen fixture John Goodman), any number of great scenes (a bit where our hero visits his shabby record company is arguably the funniest of the lot) and a soundtrack that you will almost certainly be buying as soon as you leave the theatre.

Like Black's previous work, such as Lethal Weapon and The Last Boy Scout, the script juggles some impressive action scenes with funny, quirky dialogue.

Actually looking like she could share more than just some vowels with Emily Blunt, Weaver is funny in the few scenes that she is in.