Sentences with phrase «of humor in the film»

While there are moments of humor in this film, audiences never get the same endearing antics we saw in Christopher Reeves» portrayal of the alien visitor disguised as a bumbling reporter.

As if the level of humor in the film wasn't enough to insult the audience, we are asked to believe that competent adults would believe that this freakish looking person is a baby.

Syms» use of humor in the film instantly calls to mind the many late night comedy show skits that have the tendency to poke fun at a perceived notion of black womanhood.

Not exact matches

Since securing a job as a writer for «30 Rock» in 2006, Glover has used his diverse talents and signature humor to find success in a staggering number of industries, including television, stand - up comedy, music, and film.

But with one exception the women in the film come off relatively well: The cause of divorce and related relational meltdowns seems to be mainly narcissistic men (and so we feel for the women who make the mistake of trying to humor them).

Does anyone else see the humor in the creationists debating their point of view over the Internet (invented by science), filmed on cameras (based on science) in a hall lit by electricity (harnessed by science).

The book reminds me of the 2014 film Boyhood in its realism, gentle humor, and subtlety.

LOOK AROUND YOU Open your math textbooks to chapter 3.1415926 and enjoy the subtle but distinctly British humor in this straight - faced send - up of classic classroom film strips.

Before that, presumably due to the strong influence of the Roman Catholic Church, there was no provision for divorce in Italian law, and the difficulty of ridding oneself of an unwanted spouse in the absence of any legal way to do so was a frequent topic of drama and humor, reaching its apotheosis in the 1961 film Divorce, Italian Style.

slim goodlooking, good sense of humor, love going out, staying in duvet and a film cant beat them, love to socialise with friends and family,..

There are inept thugs, a fake ruby, races through sewer lines that are marvels of invention, an outsize family that is far more stable that their precariously rocking house, and a smackdown of the French in the person of LeFrog (Jean Reno with a most apt, world - weary vocalization) that is one of the high points of a film that already scales the empyrean realms of humor.

(In the film's one gentle bow to humor, Lorens isn't aware of their agreement, and he's baffled when he fulsomely praises the food and wine, only to be met with scripture, or banal comments about the weather.)

A humorous bit - part as a conservative 12 - year - old facing the wrath of a group of lethal liberals in 1995's The Last Supper dropped a dollop of humor in the mix before Moss returned to more dramatic roles in Separate Lives (1995) and A Thousand Acres (1997), and the talented young actress continued her winning streak with roles in such diverse films as The Joy Riders and Mumford (both 1999).

Though dark hued, particularly in the first two acts, «The Fighter» is, I'm sure, a much breezier film because of Russell, whose specialty is generating humor from darkness, death, and dysfunction as in the bitterly comic «Three Kings,» «I Heart Huckabees,» and «Flirting with Disaster.»

But even though I found the last half of the film a bit draggy - too much plot getting in the way of the fun - there were enough funny bits of dialog coming out of Brand's mouth and enough of Helen Mirren being... Helen Mirren, to give this a marginal passing grade - you could do far worse if you're looking for a bit of light humor.

Within Stone's oeuvre, Alexander ranks as his most exasperatingly off - target film, completely lacking the director's mordant, stick - in - the - eye humor (so apparent in Natural Born Killers and Salvador), his love of Rubik's Cube-esque conspiracy (à la JFK), and even his able hand with battlefield glory and its blackened flipside (as in Platoon).

But though his film assignments were fewer and farther between in the 1940s and 1950s, and serious illness began eroding his physical strength, Caesar never lost his sense of humor.

-- Advisory: For a movie that features overweight rats, frogs and slugs who are quite literally living in a river of feces, this film contains a shockingly limited amount of potty humor.

Baker's combination of acute emotional intelligence and raucous, often bawdy humor sometimes brings to mind Fatih Akin, a German filmmaker of Turkish descent who also likes to set his films (Head - On, The Edge of Heaven, Soul Kitchen) in tough urban areas where conflicting cultural value systems meet and clash.

Of course, he also wants us on the edge of our seats in tense moments and maybe getting a little misty at others, but it's his use of utterly inappropriate humor in such a blatant manner — and to such good effect — that makes his films his filmOf course, he also wants us on the edge of our seats in tense moments and maybe getting a little misty at others, but it's his use of utterly inappropriate humor in such a blatant manner — and to such good effect — that makes his films his filmof our seats in tense moments and maybe getting a little misty at others, but it's his use of utterly inappropriate humor in such a blatant manner — and to such good effect — that makes his films his filmof utterly inappropriate humor in such a blatant manner — and to such good effect — that makes his films his films.

Still, though the graphics are student film project specific, and the sound is echoey in the best of circumstances, I thoroughly enjoyed the irregularity of the humor, and the open gross out makeup, including axes in the face, limbs being eaten, and frost bitten appendages.

It wasn't a problem for me at all with this film, in part because I was pretty much asking for it this time around, but also because that's what helped it stay true and close to the same style of humor from its equally crude source material.

Smith shows the grasp of character and offbeat humor that really registered in «Clerks,» and a subtler mastery of film fluidity and professionalism than anything in the cheesy, amateurish «Mallrats.»

What used to be fresh and witty in the first two films gives place to a stupid slapstick humor full of fart and poop jokes, lacking most of the cleverness of the previous stories.

Barthes wanted to trace and assemble the inner life of love; Denis's film turns those inward revelations outward, and lets them loose on the world in the form of a hungering, spontaneous, clear - eyed but anxious Juliette Binoche — who delivers the sort of soul - baring performance we've come to expect, but with a humor and candor rare for even her.

Through a celebration of culture and comedy, this film uproots the widely held misconception that Arabs have no sense of humor - when in fact they laugh, and are, just like us.

There are a few moments of the old Farrelly brothers in the film, but for the most part its trite and without anywhere near enough humor to cover up its flaws.

Levinson has a deft touch with ordinary people and places, and the film's early scenes, especially, take care of business in a satisfying, sideways fashion, developing character with exposition and finding every avenue for real - world humor.

And this gloomy theme is underlined throughout the film by an unusually dark undercurrent of humor, such as gag in which De la Cruz is crushed to death by a bell.

However, the film is electric and the performances are exceptional, set against the backdrop of humor (dark or otherwise), a banging soundtrack and a story you may know but will appreciate in a whole other manner.

Exquisitely dry humor and Rinko Kikuchi's charming, deadpan, oddball performance make for one of the more esoterically funny films to have been released in quite some time.

The gore is still there, but the general plotline came to be very predictable (especially the merging of different timelines and who the antagonist is), and the mysterious dark feel of the games we got to see in the previous films has been replaced by pointless narrowed - down bloodshed and, sometimes, humor.

You could almost imagine the two films, or at least their heroes, figuring in the kind of good - natured, racial - stereotype humor that used to be a staple of stand - up comedy (and was memorably parodied on «The Simpsons»): «white guys abolish slavery like this» (pass constitutional amendment); «but black guys, they abolish slavery like this» (blow up plantation).

There are a ton of other supporting actors in the film who provide great humor and tension to the entire production.

The villain, the dogged social worker Paula (Rachel House), repeatedly compares herself to «the Terminator» and Ricky to «Sarah Connor, in the first film, before she did chin - ups» — which tells you a lot about the movie's sense of humor.

After getting overshadowed by Forest Whitaker in «The Last King of Scotland,» James McAvoy takes center stage here with a nimble, natural performance that beautifully navigates both the humor and sincerity of the film.

Still, what Tipping masters perfectly in the film is the constant ebb and flow of humor, and darkness, that runs through the narrative that is inner city boyhood.

In my view, if the humor was taken out, along with some of the violence that was cartoonish and overkill, this film would've been spectacular.

Miyazaki indulges himself in his passion for seaplanes with this very enjoyable project of most personal interest, an always entertaining film that benefits from a beautiful soundtrack, a spot - on sense of humor and, even better, a lot of heart.

Her work in Hartley's films established the blonde, strong - jawed actress as a solid talent with a proclivity for deadpan humor, something she has also exhibited in a variety of film, television, and stage productions including Tom Noonan's What Happened Was..., a darkly humorous date movie that earned Sillas particular praise.A native of Brooklyn, where she was born June 5, 1965, Sillas studied at the acting conservatory at the State University of New York at Purchase.

Both Thor and Thor: The Dark World presented us with something drastically different than what was before it, including expanding beyond the cosmos and accepting the God - like characters as normal, which really pushed the medium of comic book films, while also blending humor and action in a way that made the character both interesting and viable.

While much humor is found in the brutal competitiveness of the young contestants, the film's sharpest barbs are saved for the pageant's shallow yet driven organizers.

But my main issue was that the story didn't draw me in enough, the uselessness of the Warriors Three, and the borderline slapstick humor mid way during the film.

The film is an insane mix of wild western action and dark, tongue - in - cheek humor.

Though it's mildly raunchy in the Apatow style (he co-produced), The Five - Year Engagement, like most of the films Segel's co-written, also allows its female characters to be recognizable human beings with senses of humor and personality traits other than niceness.

The acting ensemble is remarkable, with each performer capturing their character's vulnerability, humor, and personality, and the production values are perfect in terms of granting the film its somber, reflective atmosphere while not being too showy or over the nose.

Framed with documentary film — like interviews with the key players in what remains the most infamous story to come out of Olympic figure skating, his Tonya Harding script straddles a tricky tone of pitch - black humor, affecting pathos, and winking self - awareness.

Stewart approaches the work as he approaches his own career, refusing to define it as any one thing — humor is woven throughout, with much of the film looking like news footage we've seen and ignored every day of our lives as it blares out in monotone on international news programs like CNN.

The film doesn't take itself too seriously, laying it on thick with the jokes (Michael Pena, especially, steals every scene he's in), and the humor offers a kind of buffer which allows the audience to suspend their disbelief long enough to really accept Marvel's newest hero.

Most of the romance and humor stops as the film reaches its more serious climax (becoming a Silence of the Lambs homage with John Wayne Gacy allusions), with Ronnie poking around in the Turner residence in order to scratch up some evidence, while Kale's mother, who has befriended the intense bachelor, also heads inside, while Kale can only watch in despair.