The writers spend so much time explaining why and how such disparate elements can be intertwined that there's very little time
left for humour.
Not exact matches
As I realised rather awkwardly, on my impromptu second date with The Skype Date just before I
left for the States, even if you're attracted to someone, that can be quickly undermined by the quality of their conversation, or a lack of a mutual sense of
humour.
Writer / director Lynne Ramsay employs extreme close - ups, stream - of - consciousness editing and bizarre
humour, a combo that
left critics at its Cannes premiere swooning — and eager
for another go.
Definitely a
leaf out of Wes Anderson's book but the British
humour and references makes it better
for me.
The trailer still seems to be designed
for an audience with tastes slightly -
left - of - centre: the
humour is dry and deadpan, Charlize Theron says socially unacceptable things about hating children, and the trailer song is still of the indie - rock persuasion.
Consider, too, that despite all those contortions invested in balancing the character, the actor (Jordan Prentice, habitually mistaken
for Peter Dinklage by ignorant Sundance pundits) is
left at the end with the burden of a grisly rimshot / punchline so undignified that its black
humour becomes the one thing that any
humour should never be: completely unfunny.
Ezra Miller might just
leave your new favourite (not mine — my inherent love of Batman and major respect
for Gal Gadot makes the main two my DC idols), his chatty character, a bursting mix of social anxiety and nervous
humour that steals the film's better gags.
Adrianne's meals and
humour feed us more than can be described and Travis» passion
for a better world was infectious and we
left with the desire to spread it around the world.
The
humour followed by the attack seemingly set the tone
for what could be a fantastic space romp that's unafraid to laugh, yet still intent on delivering a compelling tale, but almost as soon as you've
left the initial section it all begins to fall apart.