Sentences with phrase «heavily on the comedy»

This movie leans heavily on the comedy, which surfaces both in chatty, eminently quotable exchanges and indelible characters.

Zombieland leans heavily on the comedy side of the horror - comedy equation.

Final Verdict: Spy acts as a sleeper hit, never relying too heavily on the comedy or the fact its lead is often used in a far more obvious role.

Not exact matches

Critics Consensus: Heavily reliant on stereotypes and shallow teen comedy clichés, I Love You Beth Cooper is a humorless affair that fails to capture the charm of its source novel.

Critic Consensus: Heavily reliant on stereotypes and shallow teen comedy clichés, I Love You Beth Cooper is a humorless affair that fails to capture the charm of its source novel.

The script leans heavily on pop culture references — a plague of just about every recent comedy — but it isn't entirely lazy, with successful sight gags and one painfully realistic failed round of Celebrity.

Beyond the written gags, the viewer's opinion on The Hangover will depend heavily on their response to each performance, as is the case with any comedy.

Hayek doesn't necessarily disappoint on any front — her energy and cuteness are a fine juxtaposition of «acting» in the film, and Nick Swardson's psychotic, heavily drug - addled school bus driver breaches into some low echelon of physical comedy.

Heavily reliant on its cast and not especially cinematic, the typical contemporary studio comedy is based around on - set improvisation, with directors who sit back and let the cameras roll, then assemble the best lines in the editing room.

There's something to be said for a comedy that doesn't rely too heavily on outrageous scenarios to get laughs, but instead presents relatable characters talking like real people.

It relies heavily on pratfalls and physical comedy, earning only the occasional light chuckle from either.

Dan Mazer cut his teeth as a writer on «Da Ali G Show» and other Sacha Baron Cohen projects like «Borat» and «Brüno,» so it comes as no surprise that his directorial debut relies just as heavily on that brand of inappropriate comedy.

Much like the Tina Fey show that came before it, 30 Rock, this fem - powered comedy excels at being laugh - out - loud funny without relying too heavily on sex, violence, or cursing.

The film's misjudged intro relies heavily on knowledge of a particular British TV show, but if audiences persevere through this awkward opening, Chalet Girl makes for untaxing, light - hearted fun that lacks the pretensions and meanness that seems to be the current flavour of comedy.

One is the romantic comedy, and King scored heavily with unknowns Trae Harris and Amari Cheatom as a married couple who rely on each other for companionship, love and understanding.

The problem was and still is, that despite a strong cast that also included Sean William Scott and Kevin Pollack, this «bromance played for laughs»» style of cop comedy was short on plot line and relied too heavily on the being carried by the laughs.

A passable comedy, that amuses sporadically but relies too heavily on it's four main performers.

James Franco for The Disaster Artist The Golden Globe - winning director and star of the comedy about the worst movie ever made was on a roll going in to the Oscar nominations, having picked up a Golden Globe, a Critics» Choice Award and a Broadcast Film Critics Association Award for playing the heavily accented auteur of The Room, Tommy Wiseau.

The film relies heavily on physical comedy and clichés.

The producer is Judd Apatow, whose hit comedies (The 40 - Year - Old Virgin, Knocked Up, Superbad, Forgetting Sarah Marshall, Pineapple Express) trade heavily in the «bromance» among their male characters; the cowriter and star is Kristen Wiig, whose brilliant character work on Saturday Night Live and endless scene - stealing in movies (Ghost Town, Adventureland, Whip It) have finally won her the big - screen vehicle she deserves.

Most of these lean heavily on either action (Mr. and Mrs. Smith, Red, Knight and Day) or comedy (Austin Powers, Get Smart, Date Night).

Relying heavily on dick jokes and repetitive humor, Baywatch fails to capture the comedy and creativity that the likes of 21 & 22 Jump Street managed to utilize just a few years back.

The film's comedy also relies heavily on its audience knowing about its subject.

The movie's slapstick shenanigans and ridiculous plotting wear thin, but screwball comedies have always relied heavily on the chemistry of the stars.

Leaning heavily on her mother's stock - in - script - trade, Meyers - Shyer's screenplay hits practically every beat of the romantic - comedy genre, albeit with one or two superficial tweaks, primarily in a premise that throws an unsure - of - herself Alice with three young wannabe filmmakers, Harry (Pico Alexander), an aspiring director, George (Jon Rudnitsky), an ambitious screenwriter, and Teddy (Nat Wolff), a would - be actor.

Inherently negating any life - or - death suspense, the skipping - record structure is more conducive to comedy — and that's how director Christopher Landon (Scouts Guide To The Zombie Apocalypse) often plays it, relying heavily on his star's elastic screwball reaction shots.

The shaggy plot is wafer thin at best, relying too heavily on familiarity (a character going wild after taking too many drugs has now become an unavoidable staple of the contemporary comedy) and as charming as Madden is, we're never quite sold on him being the impetus for such a major left - turn.

Working with a suitably drab desaturated Super-16 palette, first - time director Fabrice Du Welz draws heavily on the macabre domestic slapstick of Tobe Hooper's Texas Chainsaw Massacre and the rural paranoia of Straw Dogs and Deliverance for this unsettling male - anxiety fantasy, striking the right balance between grim sadism and grotesque comedy.

«Price Check ``: «While Parker [Posey] can still throw those awesome sassy punchlines (and she sure does here), the film relies heavily on her wacky comedy, which ultimately doesn't give the story and other characters much room to please.

Directed by Lee Unkrich («Toy Story 3») and veteran Pixar animator Adrian Molina, and drawing heavily on Mexican folklore and traditional designs, it has catchy music, a complex but comprehensible plot, and bits of domestic comedy and media satire.