Sentences with phrase «low comedy with»

Woody Allen is having a late - period resurgence with movies like Blue Jasmine and Midnight in Paris, but looking back over his career, there was no other filmmaker on the planet who, during the»80s, blended high and low comedy with such confidence.

Not exact matches

Shot with an iPhone, this low - budget comedy that focuses on a transgender sex worker out for answers when she learns that her pimp boyfriend has been cheating on her is incredibly executed and the performances are top - notch.

It seems that Aston Villa Football Club remains in an uneasy limbo — somewhere between comedy and tragedy — with no real indication as yet whether the bar will be raised or lowered.

Brisport, who has performed for the last seven years with the political comedy theater group Political Subversities, has proposed that, if elected, he will lower his salary from $ 148,000 to the average income of Brooklyn, $ 47,000.

In the past dozen years, he has mostly got stuck in a loop of romantic comedies, deploying that low, indolent drawl of his as a tool of come - hither charm; it's no less effective in «Killer Joe,» but the snares in his voice are now baited with money and lust.

The film - which follows a trio of friends (Bradley Cooper's Phil, Ed Helms» Stu, and Zach Galifianakis» Alan) as they attempt to piece together just what transpired during a pal's drunken bachelor party (where it inevitably becomes clear that said pal has mysteriously vanished)- strikes all of the wrong notes virtually from the get - go, as screenwriters Jon Lucas and Scott Moore offer up a series of broadly - portrayed caricatures that could only exist within just such a low - rent comedy (with Galifianakis» aggressively off - the - wall turn as Alan undoubtedly the most apt example of this).

The movie is a surprisingly touching, low - key ballad of middle - aged male regret disguised as a kiddie comedy replete with poop and fart jokes and soccer balls launched at Popper's crotch.

There is a lot of talk — practical and philosophical — about comedy, and Crashing is very good with the details of low - level nightlife.

Writer - director Jeff Lowell could have gone many different ways with this idea — the screwball comedy of Heaven Can Wait, say, or even the wistful, unabashed romanticism of Ghost — but he takes the low road more often than not.

More than anything, Killing Gunther demonstrates that Christopher Guest has a lot to atone for with his pioneering of the mockumentary, which has become the lazy, go - to style for low - budget comedies.

In this low - budget romantic comedy, a self - styled playboy (actually a young grade - school teacher) puts his best moves on a lovely tour guide at a New York museum and soon finds himself hopelessly entangled with the mob.

A good comedy film, but there are plenty others with lower scores that brings 3 times the laughs.

Dahlbeck is most closely linked with the films of Ingmar Bergman, expertly etching characterizations ranging from low - life decadence to elegant high comedy.

Noah Baumbach's comedy film, The Meyerowitz Stories also evolves around a cantankerous man, with much lower stakes but more fun.

Unfortunately, this low - lowbrow comedy, which tries to pass itself off as a «Friday» crossed with «Legally Blonde,» also does nothing to distinguish itself from recent urban flops «The Wash» and «Pootie Tang.»

Littered with low points — lame comedy, dubious history, fumbling drama and a love story so inept as to make a pacifist long for war.

The folks at DreamWorks Animation are obviously counting on the audience bringing good feelings about Po and company into the theater with them, so they've taken the risk of lowering the comedy quotient and emphasizing new characters and plot elements.

When Damned first landed on Channel 4 two years ago, the social services comedy made a gentle splash on our screens with its blend of low - key laughs and gentle character work.

A low - key comedy about a couple going through divorce may not sound like the stuff of cinematic magic, but with its spot - on character observation and sardonic wit The Squid and the Whale is an unexpected delight.

Though Martin is best known for his stand - up comedy, which mixes deadpan one - liners with quirky drawings and musical interludes, «Dean» showcases a more serious, meditative side to the comic that works well with his low - key brand of humor.

Still, considering that these characters have largely been out of circulation this century — they last appeared in Cartoon Network's 2001 movie The Flintstones: On the Rocks and are probably better associated with the critical and commercial failure of 2000's unnecessary theatrical live - action sequel Viva Rock Vegas — the faithfulness of the characterizations and the comedy exceeds your low expectations.

Verdict: His studio comedy phase (which had somewhat varying success rates) seemingly in the past, David Gordon Green seems to have returned to the territory on which he made his name, and between «Prince Avalanche» and this year's Al Pacino - starring «Manglehorn,» he made this, which teams him up with «Mud» star Tye Sheridan, and Nicolas Cage, the latter making something of a return to quality fare after a long series of low - rent actioners.

First, it means some great films that are also comedies may appear lower on the list than they would if we were weighing technical execution of those non-comic elements equally with humor present.

Despite being a low budget comedy, the film doesn't shy away from its horrific roots, occasionally doubling down on gore with fountains of deep red blood.

A low - impact kid's comedy, «Marmaduke» may have little in common with the comic strip upon which it's based but remains a perfectly viable flick for dog - loving families.

The central joke in this low - budget comedy should have been a springboard to something either blackly hilarious or more amusingly complex, but the filmmakers seem to have run out of ideas after coming up with...

Set against the crusty, propulsive keyboard plinks of Jefferson Starship's «Jane» (which opens both Wet Hot American Summer and its accompanying series), the trailer overrides American Honey's diegetic soundtrack to give it the low - stakes look of a suggestive teen sex comedy (replete with comedic freeze frames and vintage title cards) rather than the sobering exploration of class and youthful recklessness it is.

So even if the comedy feels low - key and uneven, it continually catches us off - guard with...

Director Dan Scanlon turns that simple story idea into a great, fast paced college comedy with an intriguing blend of emotional highs and lows.

With a low budget but a lot of imagination and talent, director Trevorrow and writer Connolly create a deceptively simple comedy that's one of the most entertaining films of the year.

As for «Peeples,» the comedy marks the lowest opening ever for a movie with Perry's name attached to it.

Dirty Laundry (PG - 13 for profanity, sexuality, homophobic slurs and mature themes) Out of the closet comedy about a black man (Rockmond Dunbar), living on the down low with a white boyfriend (Joey Costello) in New York City, whose world is turned upside - down when he learns that he has a son (Aaron Grady Shaw) back in his small Southern hometown where nobody knows he's gay.

However, Jackson got his start with low budget works, first with the independently made horror comedy «Bad Taste» (1987) and then with the deeply profane Muppets send - up «Meet the Feebles» (1989).

The Bad News: With an average of 3.8 million and a 1.2, it is still ABC's least - watched and lowest - rated comedy — even getting beaten by the reviled Mixology, which inexplicably remains in the post-Modern Family berth far more suitable for Trophy Wife.

Prehistoric comedy gets another chance to shine next weekend with «Year One,» which is tracking surprisingly low.

«Takes some really interesting ideas about insecurity and empowerment and buries them in a high - concept, low - yield comedy with a constant, unavoidable buzz of wrongness» — Norm Wilner, NOW Magazine

There's no doubt about that anymore, not after Sandler's appearance in «Funny People» — a searing dramedy about a sell - out comedy star reckoning with his selfish and unsatisfied existence — only precipitated a series of bold new lows that began with «Jack and Jill,» led to «Pixels,» and culminated with a lucrative Netflix deal that made his diseased brand airborne.

A sweet, shambling, supremely enjoyable road movie about two compulsive gamblers of very different stripes, Mississippi Grind could easily be confused for one of Alexander Payne's wounded comedies, albeit one with higher stakes and a lower thread - count.

Though realist comedy Love is one of those shows with a lower profile, Netflix still ordered a second season for it.

Sacha Baron Cohen returns with a low - brow comedy (although his brows are rather impressive in this one), and even a star - studded cast including Ricky Tomlinson, Rebel Wilson, John Thompson and Penelope Cruz can't save it from the kind of humour that may work on a trashy TV channel but misses a lot on the big screen.

But it's the low - budget, no - star «Dope» that really seems to have resonated, with Famuyiwa abandoning the romantic comedy vibe of his previous titles and turning in an energetic, youthful genre - mash - up instead.

By ROBERT W. WELKOS When you ask indie producer Luillo Ruiz how his recent low - budget action - comedy film Welcome to the Jungle featuring veteran martial arts star Jean - Claude Van Damme could come with 31 producer credits, his answer is simple and straightforward.

drew almost unanimously positive reviews — but despite its quality, Linklater's purposefully ramshackle comedy about the last weekend before college is probably far too low - key to register strongly with Oscar voters.

Before we get to the highs, however, it's our duty (okay, our petty pleasure) to dispense with the lows: Like the artist responsible for our favorite album of the year, we've got a bone to pick, and it's with every execrable entry on the list below — a hall of shame wide enough to accommodate horror hackworks, witless studio comedies, tone - deaf social issue movies, and not one but two «unconventional» Katherine Heigl vehicles.

Which isn't too bad for a low - budget (well under $ 1 million) comedy about two straight guys who decide to make a porno... with each other!

This dire sequel filled with mechanically - reclaimed comedy marks a depressing low point for Will Ferrell.

Danny Collins is the sort of thing that, 25 or 30 years ago, would've come out every week: a low - budget, low - stakes excuse for good actors to have some fun with a smart director and script (by Dan Fogelman, who wrote the busy, AARP - centric comedy Last Vegas).

«Home» is a energetic, obvious animated comedy packed with the sort of low humor and silly laughs that drive very small children wild.

Mr. Peele employs suspense and tension throughout most of the movie — with some comedy on the side, of course — and then lowers the hammer with a finale that's demented fun.

In this low - budget horror - comedy, snowy weather causes a police vehicle carrying a convicted murderer to collide with a tanker containing an acid solution.