Sentences with phrase «of the slapstick sequences»

With an amusing array of slapstick sequences and supporting characters up its CGI sleeve, Ferdinand boasts a vibrant voice - cast, with John Cena surprisingly fine as Ferdinand — the bull who, faced with a future as a meal or a matador's opponent, refuses to fight.

Franco flaunts his body throughout the film (beer gut gone, teeth are whitened), but in many of the slapstick sequences (written by his pal Jonah Hill), he looks as uncomfortable as the Oscar audience when he hosted.

Not exact matches

Ashby's instincts are so off throughout Lookin» To Get Out that he only accentuates his major weaknesses as a filmmaker - plot twists, slapstick, chase sequences and lots of screaming that eschews any character development or scenes of insight.

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

But it's still a cut above the majority of family entertainment, and director Paul King, who got his start helming the surreal cult comedy series The Mighty Boosh, continues to prove himself a confident and comparatively sophisticated stylist, employing cutaway sets, Rube Goldberg slapstick, animated sequences in different styles, and loads of visual gags to create the film's dollhouse - storybook world; the aesthetic influence of Wes Anderson is especially pronounced in the scenes set at the prison, where an early mishap involving a red sock and the prison laundry dyes the convicts» uniforms a Grand Budapest Hotel shade of lavender pink.

There is very little slapstick (outside of the daydreaming sequences that is), instead working for the jokes.

There are no shortage of exciting sequences, such as a first act kid agent battle royale to a swordfight with some Harryhausen - style skeletons; and there are plenty of laughs, including one hilarious slapstick showcase for Banderas and Mike Judge (who plays the Giggles» agent father).

There are also some unforgettable scenes, notably a long, bizarre sequence of slapstick that intentionally seeks to characterise DiCaprio and Hill's characters not only as destructive but as dehumanised, wild animals.

If the very survival of poise in Lubitsch was always involved with simultaneously fueling and controlling the fires of emotion, in Edwards the impeccable precariousness of comic order often finds expression in thriller elements, as in a masterly post-credits robbery sequence that is tense, fascinating, as beautifully machined as the fantastic caper itself — and funny too, in a thoroughly distinctive alliance of the giddiness inherent in breathbating suspense and the melodramatic effectiveness of slapstick violence.

for screen violence but it alternated its scenes of mayhem with lyrical interludes and jaunty slapstick sequences accompanied by spirited banjo music.

For all of Stephen's stroppy opening act, meanwhile, Doctor Strange has a winning sense of humour that keeps the pace zipping along — one sequence in which Strange steals books from under Wong's nose is laugh - out - loud funny, while even Stephen's cloak has a slapstick mind of its own that doesn't cease to amuse.

Plenty of slapstick and over-the-top action sequences accompany the mystery — or at least make it louder.

As usual, Clouseau bumbles his way through sequence after sequence, allowing Martin and company plenty of room for slapstick humor and broad physical comedy.

My only gripe really was some of the superhero dreams sequences at the beginning of the film were perhaps more in keeping with the type of slapstick airhead humour Stiller exercised in Zoolander and was perhaps a little ill fitting for Walter Mitty.

When the movie goes after bigger comic set pieces than improv - friendly «you look like...» runs (e.g., «you look like burn - victim Barbie»), it tends to get a little dodgy, as with a long sequence of weird sexually tinged slapstick at a spa.

Most of the time the movie is a knockabout slapstick comedy with a «Back to the Future» feeling, staging grand action sequences and feeding audiences new plot information every few minutes, but of course, being a Pixar film, «Coco» is also building toward emotionally overwhelming moments, so stealthily that you may be surprised to find yourself wiping away a tear even though the studio has been using the sneak - attack playbook for decades.

Both the origin of authority and the site of responsibility are lost as power relations shift and slide in sequences that are at once slapstick and solemn.