Sentences with phrase «more slapstick»

In this unusually complete look at the much - loved artist's diverse approaches, Shrigley is revealed as a master of many media and many kinds of humor, from the black humor for which he is famed to caricature and more slapstick situations.

I think that younger viewers will tend to enjoy When Nature Calls more so than adults, as the gags are more slapstick - y and broad than they had been in the first effort.

Her role on the show proved that the young actress had the comedic chops to carry anything that she was given, whether it was being a stereotypical teenager, or doing more slapstick work within the sitcom dynamic.

It's much more slapstick than wit this time out, and though Murphy is certainly game, this material works better in comedies that aren't R - rated.

I certainly wanted to see more slapstick action, but I can't honestly recall anything in the extended cut that I miss.

More slapstick than gumshoe, The Nice Guys is at its best when riffing broadly on the chaotic chemistry between its chalk - and - cheese male stars.

I really enjoyed the fact the the comedy style started out as a fairly realistic approach, but on occasion it slipped into a more slapstick type comedy.

The plot turned out more slapstick then suspenseful; but without the laughter.

Not exact matches

It's the lying and deception that can destroy trust in these situations more than almost anything else, and the second episode even makes it a point to try and get that across through slapstick humor, until it ditches that initial argument altogether and starts becoming a wacky comedy in full with all of the usual trappings.

Any Premier League season starring Jose Mourinho, Diego Costa and Zlatan in the same locker room would be more entertaining than The Three Stooges — and probably contain twice as much slapstick comedy.

April 7: Laugh along as Johnny Peers and more than a dozen dogs stage their hilarious slapstick comedy act (Natick)

The script is little more than a string of excuses for various skits and slapstick set pieces but the laughs flow much more freely than in Singapore.

In fact, you can look forward to seeing all three of these in the latest Matthew McConaughey / Sarah Jessica Parker vehicle «Failure to Launch,» but here are a few things you won't expect: Terry Bradshaw's bare - naked ass, a mockingbird receiving mouth - to - mouth resuscitation, and plenty more I - can't - believe - that - just - happened slapstick set pieces.

Their comedy is, admittedly, rather hit - and - miss, ranging from welcome relief to being a bit too much on the slapstick side but it ultimately lends the film the more light - hearted nature it needs in comparison to the far more serious Lord of the Rings stories.

«Tummy Trouble», «Rollercoaster Rabbit», and «Trail Mix - Up» are all included here, but while the opening of Who Framed Roger Rabbit functions as both wild cartoon slapstick and hyperbolic parody of same (as well as something of a precursor to the even more satiric Itchy and Scratchy of The Simpsons), the subsequent shorts, beyond lacking the deft, fluid touch of the movie's animation director Richard Williams, are less clever: orchestrations of mayhem that occasionally pause to wink at themselves.

Candid sex talks, an ultra weird neighbor (Jesse Plemons steals more than one scene as creepy policeman Gary Kingsbury), and a mischievous dog further add to the hilarity; they're all part of uncomfortable moments that escalate into deliriously over-the-top slapstick.

Of course, a Batman movie is nothing without a Bruce Wayne, and, by a mile, Bale is the best of a lot that has ranged from the square - jawed slapstick of Adam West to the more dedbonair stylings of Michael Keaton, Val Kilmer and George Clooney.

Its combination of maudlin sincerity, cruel slapstick, exotic romanticism and boogie - down dance sequences may befuddle more than it entertains.

It's basically just more of the same maudlin sentimentality mixed with clumsy slapstick, hassled - father routines and Geritol jokes.

It isn't superlative slapstick, but it is oddly watchable if only for the perverse curiosity toward how much more ridiculous can circumstances get.

REC 4 won't win any points for being scary or terribly original, as this is more of an action thriller than horror, but it is mostly successful due to the fact that it drops the slapstick comedy of REC 3 and goes for a more serious tone, and the setting make this stand out in the zombie genre.

Expect lots of juvenile gags, bodily fluids, crummy slapstick and questionable «funnies» and «lookelikees» performing over-the-top parodies of their more famous counterparts.

Far more clever and witty than the knockabout silliness promised by the coming attractions, this is a film that is more interested in character comedy than slapstick and gives Melissa McCarthy the most appealing role of her career and allows Jason Statham to deliver one of the most unexpectedly hilarious comedic turns in recent memory.

The slapstick humour isn't funny, the jokes aren't funny and, more embarrassingly, Harry and Lloyd aren't funny.

A ribald but bumpy road - trip comedy that wants to be more than just a slapstick retread of «National Lampoon's Vacation» (which already got a retread last year in theaters).

The Darwin Awards isn't without merit, as it does feature a few nice performers, a zestful energy, and an occasional burst of cleverness that actually seems genuinely inspired, but all in all, perhaps Taylor should have trust his characters and interesting premise more, instead of throwing everything at us he can muster in terms of celebrity - dropping and forced slapstick shenanigans.

As ever, the game is overflowing with goofy slapstick and visual comedy, with almost every cutscene stuffed with little vignettes in the background or subversions of the more serious comics material it's appropriating.

I find most insulting of all about this gag - a-thon (not «gag» as in «hardy - har - har» slapstick... I mean more like the two - girls - one - cup kind) the fact that the MANY producers and directors could not make this thing work better with an ensemble like this.

More light - hearted comedy, than dumb slapstick, Has a few funny moments, overall enjoyable film and worth seeing.

Fans recognize Thor as handsome, ferocious, often less compelling than at least half a dozen fellow Avengers, but now he's more whimsical, with slapsticks, and more resourceful in handling foes.

For some, slapstick and farce hit the spot while more cerebral fare falls flat.

«Harold and Kumar» is loaded with the kind of gross - out slapstick audiences can expect to find in more recent comedies, but it also includes enough clever humor to make even the most grounded individual respect the finished product.

It's a «dramedy» more in tune with her films Admission or This Is Where I Leave You versus her slapstick style in Sisters or Saturday Night Live.

Holofcener's is a gentler and more nuanced comedy, something of a departure from the Farrellys» slapstick romps.

It could be that Dawn will play a relative of Egghead's as Ant - Man and the Wasp tries to make the slapstick villain more serious.

She fares OK all things considered, showing an admirable willingness to make a complete fool of herself, as her character is repeatedly subject to all manner of slapstick abuse (drunkenness, wall climbing sabotage, a gushing catheter), though she projects adorability more than charisma.

Even attempts at slapstick come off subdued in a film that, without Sarandon, could have failed miserably but which appears to be holding back from more melodramatic actions as though trying too hard to cater to an arty audience.

From the writers and directors of slapstick comedy «Vacation», comes another ridiculous film in the vein of Steve... Read More

A mix of slapstick and more restrained humour, Keanu is an easy, breezy start to this summer's viewing schedule.

All three dropped out, and the roles wound up going to less distractingly famous actors, allowing the film to seem less like a bloated Saturday Night Live sketch and more like a tribute to the nearly lost art of expertly timed slapstick.

Directed by the versatile Leo McCarey, a master of improvisation and slapstick as well as a keen and sympathetic observer of human folly, «The Awful Truth» is a warm but unsparing comedy about two people whose flaws only make them more irresistible.

Unfortunately this film is not one of my favorites, it plays more like a slapstick comedy, which is not funny, with a few decent action scenes chucked in.

The raunchy comedy Bachelorette has its fair share of conflict as the women try to repair a torn wedding dress during the never - ending night before the wedding, but it's less concerned with slapstick and more concerned with the unhappy, aimless paths of its characters.

But this one spends more time than its predecessors in a comic sweet spot, thanks to a gifted cast that milks moments of inspired slapstick, goofiness, and pathos from a script whose thin, generic arc seems engineered to encourage improv.

It's a sign of the film's quality that it gets more varied and delightful mileage out of those physical reactions — from the entire cast, delivered with nuanced subtlety — then most other romantic comedies get from profane jokes and clumsy slapstick.

To put it another way: R - rated slapstick is the Farrelly Brothers» métier, while Ferrell and his co-writer Adam McKay (who also directs) get more mileage from verbal humour.

Incorporating hearty doses of slapstick humor and scores of musical show tunes, she also explores the deeper, more sensitive topics of what happens when family members choose a path (be it lifestyle, religion or career) that differs from the rest of the clan.

Reared on a diet of the genuinely affecting scatological slapsticks of the Farrelly Brothers and the still - fitfully - entertaining product out of Judd Apatow's exhausted factory, we're far more sophisticated in our fringe humour these days.

But it's much more fizzy and action - packed than its successor, rife with slapstick comedy and some very broad, uncomfortable racial humor centered on the exchange - student character of Long Duk Dong (Gedde Watanabe).

From the get - go we get the final moments of Peter Parker's (Garfield) parents followed immediately by his slapstick pursuit of an armored car loaded with plutonium, an over the top, tattooed Paul Giamatti, and an even more over-the-top score from Hans Zimmer which is just as slightly off the mark as everything else.