Sentences with phrase «premise for a comedy»

Nowadays, we might frown upon this being the premise for a comedy, but back in 1983, attitudes were different.

The Man Who Knew Too Little has a very funny and terrific premise for a comedy, and Murray does deliver one of his best performances.

Now there's a great premise for a comedy!

This might be an acceptable premise for a comedy except for one thing: The filmmakers endorse the imbecility.

The Third Wheel is a fairly thin premise for a comedy.

Not exact matches

Though the original comic series isn «treally a comedy (though let's all concede that the premise is completely ridiculous, even for a comic book), the movie is being directed and co-written by Edgar Wright (Scott Pilgrim vs. the World, Hot Fuzz, Shaun of the Dead), so don't expect it to take itself too seriously.

Spacey's always had a knack for dark comedy, and he steals every scene he's in - and it's no surprise than when the premise is twisted in the last third, he's the boss the whole plot ends up revolving around.

Baggage Claim is definitely a film that is made for an audience that is into these kinds of clichéd romantic comedies, which feature attractive casts and the bare minimum requirements to develop a premise that slightly differs from those that came before it.

For a premise with such lurid possibilities, Lars and the Real Girl is actually a sweet little comedy of romantic delusion and communal affection...

An intriguing premise, and Segal's strong central performance (a break from the light comedies he became famous for in the 1970s) makes up for workmanlike direction.

It's a thin premise that cues much cheery knockabout comedy, with ample scope for impressively whooshy 3D tracking shots.

If you're looking for a good comedy that delivers the same premise then I suggest «The Moguls».

Woody Allen's bittersweet comedy about the magical allure of movies in the Depression era was nominated for Original Screenplay Oscar, but it's premise is smiliar to that of Buster Keaton's 1924 silent.

Let the Sunshine In Juliette Binoche gives a marvelous performance as a middle - aged divorcee looking for love in all the wrong places, but Claire Denis» exquisite and soulful romantic comedy defies every expectation of that premise.

Starting with a timeless premise — young people are stupid — and spinning it into a broad, crass, and relentlessly amusing mid-summer surprise, «Mike and Dave Need Wedding Dates» may not be the first Apatow - era comedy about twentysomethings coming to grips with the fact that they won't live forever (and it's certainly not the deepest, as it lingers in your memory for about as long as a Snapchat), but it might just be one of the funniest.

While the premise sounds depressing, the tone actually takes a romantic comedy - like approach, from the «meet cute,» to the maudlin sentimentality, to the begging - for - one - more - chance set against a dramatic backdrop.

Still, it does at least support an interesting premise for a family comedy, although it does come off as a second - rate rekindling of the Jumanji (rampant animal madness) and Bill and Ted's Excellent Adventure formulas (a motley ensemble of historical figures coming together to help the people of the present).

Viewers would be forgiven for their hesitance to see another movie from the directors of the «Vacation» reboot, but John Francis Daley and Jonathan Goldstein, working from a pitch - perfect screenplay by Mark Perez («Accepted»), have crafted an ensemble comedy that lives up to its high - concept premise while giving a gang of talented actors — including the gifted Jason Bateman, so rarely employed to great effect on the big screen — fun characters and big, outrageous moments.

In the premise of a grouch who can't ditch the local holy rollers, there's an opportunity here for a very funny farce or a comedy - drama in the vein of Capra or Sturges, but director Mark Pellington leans toward the maudlin, trite and sentimental when Henry meets his other neighbors: six - year - old mute Millie (adorable Morgan Lily) and her divorcée mother Dawn (radiant Radha Mitchell).

Hader, known primarily for his comedy, and Berg, whose credits (Curb Your Enthusiasm, Seinfeld, etc.) are also in comedy, set up a premise that has both potential and pitfalls: A combat Marine clearly scarred from war (Hader) becomes a Cleveland - based hitman working, almost by accident, for his uncle (Stephen Root), who accepts an assignment to send Barry to Los Angeles to kill an aspiring actor.

Critic Consensus: Keanu's absurd premise and compulsively watchable starring duo add up to an agreeably fast - paced comedy that hits more than enough targets to make up for the misses.

Framed by a boisterous dinner scene between playwright friends, alarm bells ring early in Melinda and Melinda when conversation turns to whether a random scenario, the arrival of an unexpected stranger at a dinner party, would work best as the premise for tragic drama or comedy.

But while successes like «The Hangover» (the first one only) and «Bridesmaids» are pinnacle examples of using the adults - only rating to raunchy perfection, there are handfuls more that simply think a wacky premise and salty language are the only ingredients you need for comedy.

There's real potential in this premise for a ripping screwball comedy anchored by two likeable actors, but the filmmakers simply don't trust the material, stirring in constant elements of action mayhem that don't work at...

Official Premise: «Birdman: Or (The Unexpected Virtue of Ignorance)» is a black comedy that tells the story of an actor (Michael Keaton)-- famous for portraying an iconic superhero — as he struggles to mount a Broadway play.

An unapologetically silly movie that manages to hit the right notes, this free - wheeling comedy makes up for its corny premise with sharp writing and acting.

While a pretty thin premise for a film, the movie succeeds thanks largely to the charm of the cast and the clear effort made to create characters more complex than most of their comedy film counterparts.

Over ten years before Rob Reiner («All in the Family», This is Spinal Tap) would direct the great romantic comedy, When Harry Met Sally, he wrote this very similar piece for ABC television, which featured a very similar premise of two best friends of the opposite sex that develop feelings for one another, but are unsure whether or not they should stay friends or take it a step beyond.

But while the main premise of «The Intern» doesn't sound very promising, the trailers for the movie reveal a softer, more emotional side that suggests there may be more to it than a silly comedy about an old guy working for someone half his age.

Solondz takes a premise that could be some kind of Apatowian studio comedy — overweight man child falls for pixie dream girl — and really gets into his central character's psyche, to the extent that much of the second half of the film is set entirely within it.

When: March 22nd Why: Despite its sitcomy premise, «Admission» has one thing going for it that most romantic comedies don't: Tina Fey and Paul Rudd.

It's a light confection, but well realized, as the laughs and pleasant tone is maintained throughout this sitcom premise (no surprise that director Sandrich («Soap», «Mary Tyler Moore») is a TV comedy vet) to overcome contrivances for the sake of a quality romantic comedy of sorts.

It's the type of half - assed, sketch - style comedy that only those who are already inclined to get a few laughs out of the film based solely on its premise — and aren't terribly demanding of films that don't demand terribly of themselves — are likely to truly enjoy it for what it is.

Woody Harrelson and Colin Farrell, two actors who are some of the best in the business at balancing drama and comedy, are so perfectly cast for McDonagh's work and this film's premise.

There should be a law against two - hour comedies as its extremely difficult to keep one continually afloat for such an extended period of time, especially given such a simple, one might even argue flimsy, premise.

The raunchy premise here is just a smokescreen for the sort of squarely moralistic, altar - bound comedy of which even Jane Austen would approve.

Thus unfolds the underlying premise established at the outset of The Perfect Holiday, one of those syrupy sweet romantic comedies which keeps a pair of lovebirds obviously meant for each other apart via a series of frustrating circumstances.

WHY SEE IT: An interesting and creative premise for a film that is clearly a labor of love — kind of an indie comedy take on CUBE and LABYRINTH, with a touch of ALICE IN WONDERLAND and Terry Gilliam insanity thrown in for good measure — DAVE MADE A MAZE is an amusing diversion for fans of budget filmmaking who can appreciate a smirk - inducing comedy with a light touch of horror and fantasy.

Director David Gordon Green leaves the indie world for this studio film and excels in making a very vulgar comedy full of stylish montages and exciting chases — while Rogen and co-writer Evan Goldberg (also co-writer of This Is the End) construct a movie with a stupidly simple enough premise to knock off a slew of action cliche parodies, but also allow for a lot of improvisation along the way.

And Step Brothers is indeed funny in the «Saturday Night Live» mode, milking its premise — petulant 40ish layabouts Brennan Huff and Dale Doback (Will Ferrell and John C. Reilly) are forced to become roommates when their single parents (reliable workhorses Mary Steenburgen and Richard Jenkins) fall in love and move in under one roof — for all the sketch - comedy antics it's worth.

Raising Arizona is presented as a broad comedy and perhaps one reason for this is to render a potentially objectionable premise — couple steals baby — more palatable for an audience.

Written by Tom O'Connor, The Hitman's Bodyguard boasts a good premise for an action comedy.

This is hardly the most promising premise for a romantic comedy, but damned if Warm Bodies — directed by Jonathan Levine and adapted from the novel by Isaac Marion — doesn't somehow bring it to life.

The director of such 80s classics as «Diner», «The Natural», «Good Morning, Vietnam» and «Rain Man» (for which he won an Oscar) has brought some of Hollywood's most respected and likeable actors together for a comedy with a somewhat interesting premise.

It is listed as a romantic comedy, but plays more like a dramedy, and has a premise that feels better suited for a psychological thriller.

Schwarzenegger, whose first appearance doesn't come until more than an hour in, admittedly does provide the film with a few chuckle - worthy moments, yet such antics are hardly enough to compensate for what's otherwise a fairly interminable experience - which is a shame, certainly, given the potential afforded by the decent premise and impressive cast of comedy all - stars.

There isn't much about We're the Millers that separates it from the typical snarky, quasi-feel-good raunchy comedy, but it deserves credit for one thing: finding a new twist on the familiar premise of mismatched strangers being forced to take a...

It's not hard to see the appeal of a movie like this — again, the premise is a slam - dunk as far as high - concept comedies go — but the execution is, at best, lacking, and at worst, baffling (why, for example, does this movie have more false endings than

The premise certainly seems tailor - made for his action comedy proclivities.

Jonah Hill developed the story with screenwriter Michael Bacall («Project X») and uses the musty premise as a springboard for a raucous post - «Superbad» comedy with action.