Sentences with phrase «modern film comedy»

Not exact matches

The film, which hits theaters February 16, is a modern twist on a romantic comedy (boy and girl meet, fall in love, but then break up, and are suddenly reunited, ending up in that awkward stage where they have to debate whether to wave hello while taking out the trash), but it's also a particularly female spin on the coming of age story, the likes of which we're only beginning to see onscreen as more women carve out a place for themselves in writer's rooms and director's chairs.

It'd be unlike Denis — whose far - flung features over the last 30 years have ranged from the luridly modern vampirism of 2001's Trouble Every Day to films tackling war, colonialism, French modernity, and so on — to make a straightforward romantic comedy.

We sat down with the writer / director recently to discuss some of the film's themes and get his thoughts on the state of modern comedy.

With only two feature films and one TV show to his name, writer / director Jody Hill, is now synonymous with ignoring the boundaries and «genre rules» of modern comedy and creating anti-heroes that laughably burble with nihilistic rage, scary faux pas and hot - air egos.

The film leans into modern comedy, but it also passes through moments of genuine longing and even existential crisis.

Taking the 1983 Vacation and thrusting it into the modern age of high - octane raunch comedy, Vacation (2015) is pretty much the result most would expect: Still filled with laughs, but ultimately a cheaper and more hollow echo of the original film, despite some inspired comedic performances from the cast.

Following the modern cult classic In Bruges, Martin McDonagh fully delivered on that film's vast promise with Seven Psychopaths — a fiery genre cocktail of crime & dark comedy.

Here is a film that possesses all the hallmarks of what can make modern American comedy so lazy.

Two pure comedies, Paul Feig's «Spy» and Judd Apatow's «Trainwreck,» were nominated in the Best Motion Picture — Comedy category alongside three films comprised of considerably more dramatic fare: Adam McKay's exploration of the modern financial crisis, «The Big Short,» David O. Russell's profile of an entrepreneur, «Joy,» and Ridley Scott's sci - fi adventure, «The Martian.»

Before I begin my review, I would like to point out that even though I am not a fan of most modern horror films, I do love the horror comedy genre and horror films from the 70s and 80s.

Snow globes, dog - eared pop - up books, vintage advertising, silent cinema, Ealing comedies and the Spirit of ’45 all feed into the essence of the film, and King offers a dreamlike vision of London which mixes mid-century fervour with a modern embrace of cultural diversity.

Earning back its budget several times over, the much - watched, much - quoted film quickly etched a place in the cultural zeitgeist alongside Animal House and The Blues Brothers as modern marvels taking funnymen from «Saturday Night Live» to heights and distances that weekly sketch comedy TV couldn't.

It's a modern comedy that allows its characters to fall in love naturally, without the pressure of sex, while also providing plenty of sex throughout the film (with other people).

Not forgetting the quality Will Ferrell cameo as Chazz, who was the notorious albeit deluded man who invented «the rules of wedding crashing,» or the beautiful montage of half - naked women being bedded in the film's earlygoing set to the classic celebratory song «Shout,» Wedding Crashers has assured its place among the great raunchy comedies of modern day filmmaking.

Two of modern comedy's heavyweights, Will Ferrell and Zak Galifianakis, will go head to head in the forthcoming satirical comedy, THE CAMPAIGN, and we now have two new promotional campaign posters to add to the trailer and film poster.

These conflicts between the friends, the daughters and parents, as well as each individual character gives the film a depth that is both necessary in modern culture and takes Blockers a step beyond its predecessors in this niche comedy genre.

This is the way with modern romantic comedies, you see: no matter what contrived bullshit the writers can come up with to make their film seem «fresh», it still ends up being a two hour movie with an ending that is entirely predictable.

Just as other films of its ilk (The Phantom, The Shadow), the updating of the material involves keeping the core of what makes the Green Hornet the Green Hornet, while stuffing it into a modern - day action and comedy style.

One of the film's most memorable aspects — and arguably the facet which helped to entrench itself within the annuls of modern comedy greats — is the work undertaken by the Max Fischer Players: Broadway - sized high school theatre reinterpretations of classic movies.

Overall, it seems as if HELLBENDERS bites off a little bit more than it can chew with a poor quality EXPENDABLES-esque Horror - Comedy, that is intended capitalise on current, modern trends in the film industry.

In a way, it's of a similar mindset to the crude romantic comedies which came out around 2000, especially any of the Farrelly Brothers films, which went for lowbrow laughs at the expense of some dim bulb characters, featuring a nonstop soundtrack of modern pop - rock hits, and with a sweetness underneath to try to make it seem cute in its own juvenile way.

The Incredible Jessica James Netflix announced that it has acquired worldwide rights to writer / director Jim Strouse's refreshing and heartfelt modern comedy, The Incredible Jessica James, prior to the film's upcoming Read More →

This week we see the release of «Snatched,» a film starring comedy icon Goldie Hawn and modern day superstar Amy Schumer.

It used to actually mean something to see the Oscar - nominated names of Lowell Ganz and Babaloo Mandel as the screenwriters of a comedy, writers of such modern - day classic comedies as A League of Their Own, Parenthood, City Slickers, Night Shift, and Splash, but most of those films were in their past, and they have turned in mostly mediocre material since 1992.

Rian Johnson, who received great critical acclaim for his modern film noir homage, Brick, crafts another genre homage to the old con capers with The Brothers Bloom, mixing the stories you'd find in such films as The Sting with the light comedy you'd occasionally find in a Marx Brothers comic adventure.

A film comedy directed with the grace of a ballet, the painstaking detail of an action painting and the affection of a love song, Playtime is one of the most sublime celebrations of individualism in the alienated landscape of modern urban life and consumer culture.

Though the National Lampoon is no longer in circulation, its legacy is undeniable: From Saturday Night Live to The Onion to, of course, films like Animal House and Vacation, it's had major impact on modern American comedy.

Kiss Kiss Bang Bang is a marriage of old film noir elements with more modern black comedy techniques, and the result is an occasionally funny and entertaining film that ultimately tries too hard and can not maintain the breakneck pace that the first act antes up.

But it indicates what much film comedy has become: a slightly sourish cocktail of bad behavior, wry observation, and commentary on how difficult modern life can be, especially for characters who feel entitled to a better one.

The film doesn't pretend to be great art, but as light comedy is more than slightly entertaining, and does provide a perspective on the modern day as seen through the eyes of the past.

A smart, sophisticated comedy about the challenges of love and marriage amongst modern day New Yorkers, Freundlich's fourth feature film centers on the romantic escapades of two couples: a successful actress (Freundlich's real - life significant other, Julianne Moore) and her stay - at - home husband (David Duchovny), and said actress» slacker younger brother (Billy Crudup) and his aspiring novelist girlfriend (Maggie Gyllenhaal).

Ultimately, Meet the Parents is one of the funniest comedies I've seen since Annie Hall, a film with which it shares a wry sensibility about modern romance.

An emblematic screwball comedy, the film was a jumping - off point to dissect the genre commonly referred to as the «Chick Flick»; charting some of its history, analysing its place in our modern world of female action stars, and questioning the generally held belief that the style has outplayed its usefulness.

Running the gamut from the deeply moving to the darkly humorous, The Party puts an entirely modern spin on the traditional British comedy of manners; that it's filmed in black and white only adds to the stark intimacy which draws the viewer in.

Brain Donors is certainly an interesting film, as it attempts to recreate the rapid - fire comedy stylings of the Mark Brothers, while throwing in some modern twists.

But there is much more on the films plate than simply laughing - to - prevent - from - crying at the current state of America, the film delves into life philosophy, behavior etiquette in the modern world and simple human dignity in ways that only a good comedy can.

At the root of the best modern sex comedies and movies about arrested adolescents learning to man up is male friendships, something that is always taken for granted in the same films.

Such conscientious commentary is truly rare among modern film, especially comedies.

From there, the action gets graphically violent quite quickly, an admittedly common trait of the modern action - comedy that nevertheless adds a needlessly mean - spirited touch to this particular film's already uncouth comedic sensibility.

However, none of this would have amounted to much without the perfect recreation of the Sixties fluff comedy look of the film, complete with sumptuous Technicolor vibe, light jazz and lounge soundtrack, gaudy wardrobe, split - screen conversations, process shots, and none of the camera techniques that have been development in the last 40 years that would suggest this is a modern film.

It also a comedy of manners, a Hitchcockian suspense film, and a sly parody of everything that is dull about modern French middlebrow films.

His films, which do not begin with finished screenplays but are «devised» by the director in collaboration with his actors, have always been about modern Britain — often about inarticulate, alienated, shy, hostile types, who are as psychologically awkward in his comedies as in his hard - edged work.

This latest edition of Now Stream This has scoured streaming services to bring you back a variety of films: comedy, horror, drama, as well as modern - day movies and classics from Hollywood's yesterday.

Buñuel's film is a comedy about the insanities of modern life, paralleling the themes of Cytter's works in which she conveys the perils and triumphs of contemporary life through alterations in conventions of narrative cinema.