Sentences with phrase «into black comedy»

Blending romance and paranoia into a black comedy that confirms our best hopes and worst fears about the powers that be, it has no problem exploring absurdity in all this manifestations, and doing so with forthright violence of which Sam Peckinpah would be proud, and an existential nausea that might give Sartre pause.

I, Tonya (in UK cinemas in February) turns the fall of disgraced US Olympic figure skater Tonya Harding into a black comedy.

Jason Segal co-wrote the script with director Nicholas Stoller («Forgetting Sarah Marshall»), and they were unafraid to take it into black comedy territory.

Not exact matches

But in a night filled with traditional, safe, punchlines from Fallon, the duo's brief detour into absurdist black comedy was probably the funniest moment of the whole show.

Some employees of an international arms dealer go out into the Hungarian wildeness for a weekend company retreat, only to find themselves menaced by a group of militants who don't like having them around their territory in this modestly budgeted dark comedy / horror film from Christopher Smith, who also directed Black Death (with Sean Bean).

Dobkin (who previously directed the black comedy «Clay Pigeons,» as well as the absurdly delightful «Shanghai Knights») doesn't make the mistake of trying to ease us into comedy mode; he pitches us into it head - first, which is a lot more fun.

Craig Gillespie's take on Tonya's story, the hilarious and gut - punching I, Tonya, is a nearly pitch - perfect black comedy that distills the sensational story into two potent insights very relevant to 2017.

A graduate of the Tuskegee Institute, Wayans entered the comic arena in the mid -»80s by stepping up to the mike and honing his stand - up act, but he later branched out into movies, by scripting the low - budget black satire Hollywood Shuffle (1987) and the aptly - titled comedy vehicle Eddie Murphy: Raw (1987), both for director pal Robert Townsend.

People do very bad things in Very Bad Things, but in a black comedy it isn't so much what you do as how you do it, and Berg hasn't the gallows humor to turn this excursion into bad taste from a sick idea to the despicably funny film it should be.

The inbred lowlifes in this B - movie black comedy are members of the Smith family, a clan of troglodytes in a seedy Texas trailer park replete with vicious barking dogs on chains, who swing into ruthless high gear from the very first scene, when penny - ante drug dealer Chris Smith (a game turn by Emile Hirsch, who has grown from the appealing, open - faced kid in The Emperor's Club into a scabby, hirsute roughneck) arrives in a torrential rainstorm and is greeted at the screen door by his father's new wife Sharla with a female full - frontal.

It's a black comedy of our impulse to deify the dead, especially a teen suicide, and Lance's efforts to rewrite his son's story is nothing compared to the way his classmates transform this outcast into their best friend.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Peele's «Get Out» is a remarkedly assured black comedy (pun intended) that relies on exploitation tropes (startle effects, etc.) to comment on what the Black Lives Matter movement has insisted all along: though white liberal Americans may fool themselves into thinking otherwise, racism still permeates suburban gated communiblack comedy (pun intended) that relies on exploitation tropes (startle effects, etc.) to comment on what the Black Lives Matter movement has insisted all along: though white liberal Americans may fool themselves into thinking otherwise, racism still permeates suburban gated communiBlack Lives Matter movement has insisted all along: though white liberal Americans may fool themselves into thinking otherwise, racism still permeates suburban gated communities.

Suicide and apartment troubles turn a perky couple into serial killers in this black comedy misfire from the 18th Annual Tribeca Film Festival.

The Bronze then changes from an oddball black comedy full of crass humour and filthy language into a sort - of redemption story (with crass humour and filthy language), although neither choice ever really works.

This striking black comedy from Chile delves into the life of a 41 - year - old maid for a wealthy Chilean family, cleverly revealing both her own inner life and some home - truths from this modern - day caste system.Raquel (Saavedra)...

«Dom Hemingway»: The black comedy follows the travails of an English safecracker (Jude Law), so plot as well as savings likely factored into its London location.

From Shane Black, director of Iron Man 3 and the highly underrated dark comedy Kiss Kiss Bang Bang, The Nice Guys has a lot going for it in the casting department as well with Russell Crowe and Ryan Gosling leading this crime thriller into funny but intriguing directions.

Badged up, with half a cup of coffee in me and the printed press screening guide — rendered mostly useless by a dozen last - minute schedule changes — stuffed into my backpack, I head into my first screening of the day: The Lesson, a contrived, slightly smug little Bulgarian number lightened by fitful bursts of suspense and black comedy, and directed in the kind of serioso handheld style that is traditionally associated with the Dardenne brothers, because they're the only ones who know how to pull it off.

Unusual, unpredictable and unpleasant, this starts out as domestic drama, transforms into a thriller with black comedy elements, then ends up in «Wicker Man «territory.

In Yorgos Lanthimos's black comedy The Lobster, for example, the world of romance is portrayed as a dismal social obligation, where those who don't find their perfect match in 45 days are literally transformed into an animal of their choosing.

Here, the film makes a sharp turn into a «Saturday Night Live» - type broad comedy complete with grotesque religious stereotypes, none more cringeworthy than Brett channeling a black pastor in a sermon that borders on minstrelsy.

So says writer - director Jordan Peele in Get Out, a horror / comedy hybrid about a black man (Golden Globe - nominated Daniel Kaluuya) who visits the posh, apparently liberal family home of his white girlfriend (Allison Williams) and ends up (spoiler alert) walking into a racist ambush.

Gillespie and Rogers go into dark places here but never lose the black - comedy tone of the piece, and a large part of that is due to a cast that gets it exactly right.

Indeed, although King has tempered his combustible brand of black comedy into something more stable and wholesome (although there are still plenty of hidden treats for fans of The Mighty Boosh), Paddington stands out because it never once feels safe or overly sanitised.

The Pretty One, the first full length feature from AFI grad Jenée LeMarque from her Black List darling script, seems to have fallen into a few of these indie comedy traps, with it's subtlety and filtered reality, but was no less enjoyable to view, and sweet in it's presentation.

After that brashly meta opener, you might expect a smartly constructed Tarantino - style black comedy of retribution, but the film fails to deliver on that promise, devolving instead into a dispiriting tonal mishmash of mean - spirited revenge fantasy, girl - power romantic fantasy, and comedy so broad it tips into caricature.

Beyond the ickiness of the relationship between an infamously predatory director (John Malkovich) entering into a relationship with the 17 - year - old daughter (Chloe Grace Moretz) of Louis» character, the juxtaposition of a black - and - white,»40s - screwball comedy setting with profane, raunchy humor just never works.

Jordan Peele's Get Out is horror / comedy thriller about an unsuspecting black man who wanders into a trap set by nefarious white people.

A few minutes into Alejandro G. Inarritu's black comedy «Birdman,» it becomes apparent that the camera has yet to blink.

It makes such a severe turn into some of the blackest of black comedy.

Your commitment to oddball black comedies faces its toughest test when the dog inexplicably falls into the lap of depressed screenwriting prof Dave Schmerz (Danny DeVito).

Starring The Witch's Anya Taylor - Joy and Bates Motel's Olivia Cooke as disturbingly emotionless upper - class teenagers who plot to kill one girl's stepfather after rekindling their childhood friendship, the film was a favorite of our own A.A. Dowd at last year's Sundance Film Festival, where he called it a «razor - witted black comedy» that's «superbly unpredictable, moving fluidly into thriller territory and back again.»

Trying to force what should be a black comedy about the weekend from hell into broad - comedy appeal is simply going against your movie's DNA, and audiences aren't stupid.

An exhilarating mix of dark comedy, white - knuckle action and dramatic intrigue, Gringo joyrides into Mexico, where mild - mannered businessman Harold Soyinka (David Oyelowo) finds himself at the mercy of his back - stabbing business colleagues (Joel Edgerton and Charlize Theron), local drug lords and a morally conflicted black - ops mercenary (Sharlto Copley).

Despite some lapses into silliness, it tries to play things straight — leaning more towards black comedy rather than splatstick.

Peele — better known for his comedy work in Comedy Central's Key & Peele — astutely taps into systemic racism that persists in America through the eyes of a young black man (played by Daniel Kaluuya) whose visit to the family home of his girlfriend (Allison Williams) turns tcomedy work in Comedy Central's Key & Peele — astutely taps into systemic racism that persists in America through the eyes of a young black man (played by Daniel Kaluuya) whose visit to the family home of his girlfriend (Allison Williams) turns tComedy Central's Key & Peele — astutely taps into systemic racism that persists in America through the eyes of a young black man (played by Daniel Kaluuya) whose visit to the family home of his girlfriend (Allison Williams) turns tragic.

Oh but how quickly it turns into one of the most outrageous and darkest black comedies of its decade.

The 2008 comedy Tropic Thunder stars Ben Stiller, Jack Black, and Robert Downey Jr. as three prima donna actors dropped into a war zone while thinking they are making a movie.

Knight has made a career of following his own interests, cutting his teeth in spoof comedy, creating the original British edition of Who Wants to Be a Millionaire, and parlaying that success into his feature writing debut, the black - market organ harvesting drama Dirty Pretty Things.

This comedy focusses on a young black nerd living in a tough Los Angeles neighborhood who is attempting to get into Harvard while at the same time dealing with a drug situation he has been forced into while being in the wrong place at the wrong time.

Seth Brundle is the performance of his career, starting out as a typically Goldblum-esque excitable nerd, then turning into a genuinely ardent romantic lead, then tapping deep into veins of anger, fear, black comedy, sheer terror, and unspeakable sorrow.

Boasting a history with the Coen brothers dating back to their early films, makeup and hair department heads Jean Ann Black and Cydney Cornell were excited to delve into the pair's latest effort, old Hollywood comedy Hail, Caesar!

And the unresolved romantic and sexual tension between Black Widow and Hulk creates a weird driving force to the narrative: even the absurdity is somehow recirculated into the film's internal economy as comedy and irony and the cast - of - thousands effect never seems to split the focus: Andy Serkis plays metal trader Ulysses Klaw and Julie Delpy has a blink - and - you'll - miss - it cameo as Black Widow's sinister former controller.

That's not a problem for a black comedy, but The Details grinds to a halt as its main character receives valuable life lessons or as he heads into another predictable comic set - up.

And as a comedy, there's a nearly naked man sliding a good 20 feet on black ice into a snow bank (oh... my... GOD... that would hurt), a concussed young player deliriously talking about his lack of sexual prowess, and a virtual remake of Doug Dorsey from The Cutting Edge in the form of Skank.

As other weaker films picked up prizes, notably Olivier Assayas» Personal Shopper and Andrea Arnold's American Honey, many were struck, if not shocked, by the hot tips that were forgotten, notably Maren Ade's Toni Erdmann, Kleber Mendonça Filho's Aquarius, Jim Jarmusch's Paterson and even the last day's black - comedy crime cum social satire, Elle, by Paul Verhoeven, which turned into a perfectly boisterous way to conclude a selection that, inevitably, contained principally grim fare.

Fox are apparently turning Shane Black's recent action - comedy «The Nice Guys» into a TV series.

Much like the late author, Robinson first drew acclaim with a black comedy that he scripted and directed entitled «Withnail and I.» After the debut, he became tired of the restrictive practices in Hollywood, such as producers either refusing to fund his works or drastically altering them, eventually succumbing to heavy drinking and falling into a heavy depression, becoming «unavailable by choice.»

From what started as a black comedy, descended into a labyrinth of blood, destruction and hell.