Sentences with phrase «much film comedy»

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.

Not exact matches

Sony had to cancel the much - anticipated release of the comedy film The Interview last year after hackers threatened action if the film was released theatrically.

Between us we had pretty much every comedy sub-genre covered: writing, acting, stand - up, sitcom, sketch show, panel show, TV, radio, stage and film.

It's supposed to be a comedy, but Max considers it a veritable primer on the life of a Jewish émigré «You can learn much from this film,» he says.

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.

But to complain that nothing much happens here or ponder the film's curiously tame view of university life (Rodney Dangerfield would most definitely get no respect here) is to miss the point of the movie, which is to serve as a vehicle for McCarthy, spotlighting her warm, screwball spirit and irrepressible physical comedy.

This unfunny, unoriginal, charmless teen comedy is so stunningly awful from start to finish, it's amazing to think its director has made a single film before, much less a dozen.

Very enjoyable and original, this film is much better than most of teen comedies of today.

This could have been a great comedy, but it fails, and as far as family films are concerned, there are much better films out there to enjoy than this.

A Comedy channel featuring short films, sketches, impressions and much much more from award winning UK based Lumbfilm Productions.

While much of it is quite funny, the film ends up feeling like a good comedy sketch stretched out unnecessarily to a feature - length.

A stint on Garry Shandling's breakthrough HBO series The Larry Sanders Show (for which she was nominated for an Emmy award in 1996) soon followed, and in 1994 Garofalo reunited with Stiller in the film comedy Reality Bites, a role which earned her the much - despised tag of «Generation X comedian.»

Often reviled in his native United States but worshipped as a genius throughout much of Europe and especially France, Lewis took slapstick comedy to new realms of absurdity and outrageousness, his anarchic vision dividing audiences who found him infantile and witless from those who applauded the ambitions of his sight gags, his subversions of standard comedic patterns, and his films» acute criticisms of American values.

You would think a film like this, that rips off of almost every Hollywood comedy for it's story, (mainly «The Hangover») that it would be very dry and forgettable, but it has many heartfelt moments that surprised me, and a group of old guys saying they are «too old for any of this stuff anymore» and «we need to appreciate life more» seems too much, but it's not.

Though AKA Pablo was far from a hit, Rodriguez continued to be very much in demand for such comedy films as Miracles (1986) and Born in East LA (1987).

Adam Sandler shows, much to our utmost surprise, that he can act when he wants and that he was the perfect choice for Anderson's take on a romantic comedy, a sweet, darkly humorous and amazingly well - directed film that is miles above most romcoms that Hollywood produces.

Stalking out of the office with only a goldfish and meek accountant Dorothy Boyd (Renee Zellweger), Cruise pours his not immodest energy into two clients, clean - cut college quarterback (and first - round sure thing) Frank Cushman (Jerry O'Connell) and Rod Tidwell (Cuba Gooding Jr.), the tightly - wrapped Arizona Cardinals wide receiver whose off - the - field histrionics and extended family hijinks provide much of the film's physical comedy.

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.

I always fall directly in the middle when I watch this film, because the comedy hits just as much as it misses.

Director Robert Schwentke taught her much about the film business.Just a few short months after completing «Flightplan» she booked the role of Kelly Beardsley, Dennis Quaid's daughter, in the comedy «Yours, Mine and Ours.»

The film works up to a totally conventional ending: It's never much of a comedy or an exploration of the phone - sex phenomenon, and it often seems to be just an excuse for Madonna, John Turturro, Quentin Tarantino and other Lee pals to make cameo appearances and mug for the camera.

Not perfect - the film is made on a tight budget and sometimes it shows - but this is so much better written than every other American comedy this year (apart from Burn After Reading) that it is embarrassing.

The comedy is not exactly sophisticated and much of the humour is physical but the film somehow crosses the tightrope of acceptability and rarely descends into gross - out.

The film spends a lot of time undermining Thor (don't worry, he's still an awesome hero who saves the day), bending his character toward comedy so much that he occasionally feels unrecognizable.

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

It is much more like a comedy film than an action movie, and the comedy isn't even funny.

The «High Sign» was Keaton's first independent effort, but he believed the film retained too much of Arbuckle's style of comedy and not enough of his own.

He kicked off the most successful decade of his film career with a performance as Wimpy in the much - maligned Robert Altman musical comedy Popeye (1980).

Greta Gerwig who wrote and directed «Lady Bird,» which won Best Motion Picture - Musical or Comedy, noted that «it's been such an incredible year for women in film both as actors and also writers and directors and producers and people who are really coming to the forefront to tell their stories about the world as they know it from where they are standing, and I think that the response to these projects and the support that these projects have gotten and the way that audiences are going to see them or watching them in their homes, I think all of this just makes it so much easier for the next crop of filmmakers who want to tell stories about women.»

As much as I'd like to blame the trailers for misleading viewers, this is not an easy film to market, and as such, most ticket buyers walked into their screening ready for a simple, familiar formula: Seth Rogen + raunchy R - rated comedy.

Christian Bale, Jennifer Lawrence, Bradley Cooper, Amy Adams and Jeremy Renner collaborating with David O. Russell («Silver Linings Playbook») pretty much made this comedy drama a lock once it was announced, but the finished product was a lot of fun thanks to the spirited performances and Russell's active film - making style.

I won't give away much more plot other than it's a dark comedy because this film would suffer in my eyes if the audience knew too much about it.

The material used in this film wouldn't even be adequate fodder for a 30 - minute pilot for a possible cable TV sitcom, much less a 90 - minute gag - a-minute comedy.

From actress turned writer / director Marielle Heller (A Walk Among Tombstones) comes the latest new - age, post-modern, feminist movement film that doesn't accomplish much more than Aubrey Plaza did with raunchy comedy The To - Do List.

TITUS Julie Taymor creates a visually arrest ing film around Shakespeare's much - maligned «Titus Andronicus,» which emerges as a brilliant black comedy.

While largely avoiding the Twilights and Divergents of the world, he's made interesting career decisions, weaving horror and indie films throughout his comedy roles, and largely using social media in a much more subversive and less thirsty way than some of his peers.

If you spend too much time on comedy you get a film like Old School, which I found hilarious but had a weakly confused and rambling plot.

It's not even that the film shifts wildly in tone as much as the fact that none of those tones work at all: the horror parts aren't scary and, surprisingly for Smith, the comedy bits aren't funny.

There is lots of physical comedy and sight gags throughout the film, much of it from the mouse's point - of - view.

This film was deemed to be a Comedy horror film; the comedic tone of the film is flat and virtually nonexistent and the film's material has a much darker tone in retrospect.

At times, the film approaches gallows comedy... perhaps a little too much so; at others, it's a tense, chilling look at a seemingly unbearable choice — refreshingly, without telling its viewers what to think.

It makes you appreciate how much more goes into a Wright film than the typical comedy or any film really.

However, as much as we might be able to protect ourselves, when Bay plays the film for comedy — that's when he puts the steel - toed boots on and really drives it into your groin with a wallop, and the only reason the final hour of destructive mayhem seems easier to take is that the actors play heir roles with straight - faced seriousness.

Even when there's not much happening or the comedy is uncomfortably broad, a Hughes film has the sheen of near - perfection.

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.

Too many of the domestic spats feel a little too raw for a comedy, while much of the dry humor is spread too thin throughout the film.

Cox's style is a step beyond camp into a comedy of pure disgust; much of the film is churlishly unpleasant, but there's a core of genuine anger that gives the project an emotional validation lacking in the flabby American comedies of the early 80s.

Feig also knows where his strengths lie, and as such, much of the film is given over to comedy titans like Kristen Wiig and Melissa McCarthy just doing what they do best.

It's not that Léa Seydoux does a bad job — rather that her character feels forced, almost like the writers included her because they felt they had to (much like that last minute comedy pass that was done on the Skyfall script, which is blessedly missing from this film.)

Some have compared the film to The Bourne Identity meets Still Smokin», but a closer touchstone would be Hitchcock's»50s chase comedies such as The Man Who Knew Too Much and North By Northwest.