The only running gag that somewhat works is the version of Tom Cruise's character from War of the Worlds being a bad father, but it's also probably the only joke that is actually based on observation of the source material.
Not exact matches
Georgia's kicker
only stepped into the overtime spotlight because Alabama kickers remained the best
running gag in college football.
The lowbrow
gags are funny, but the whole gross - out thing has pretty much
ran its course: there are
only so many different bodily fluids you can play around.
What is truly delightful about the film is its loopy, gently slapstick sense of humor, its use of continuous
running gags that pay off cumulatively (no small feat), and the dreamy sense that Schilling's somnambulism is pierced through
only by the insane incomprehensible behavior of others.
There are
only a few moments where the actors take a break from the shooting and
running to make a quick
gag.
Offering a candid look at his creative process, it illustrates the actor's aptitude for improvising, as he
runs through a number of
gags, voices, and jokes at an amazing speed, some of which didn't at all make it into the film, with
only the occasional flub.
Indeed, Edwards is about the
only active filmmaker who both remembers the
running gag and remembers how to use it, build it, and orchestrate its confluence with a dozen other
running gags as well.
A sub-genre that began as a flippant remark by writer Curt Siodmak to «Wolfman» director George Waggner back in 1943, the verbal
gag inadvertently spawned the studio's first ghoulish combo, «Frankenstein Meets The Wolfman,» and enjoyed a good
run over the next decade through various recombinations, adding Abbot & Costello when dopey humour was the
only element that could milk a little more money before the genre's official retirement at the studio.