Sentences with phrase «rather than comedy»

Fey's character Kim is a single New York City media worker (a writer of news copy rather than comedy sketches) who eventually acquires an irksome and persistent love interest played by Martin Freeman, in a film written by 30 Rock mainstay Robert Carlock, and produced by Fey and Lorne Michaels.

Scott Neustadter and Michael H. Weber, the team that wrote «500 Days of Summer» and «The Spectacular Now,» were brought on to adapt the screenplay, primarily for their skills at relationship dramas rather than comedy.

SEE THIS MOVIE IF: you are somehow oblivious to the inherent dangers of online communication OR if you are unaware that teenagers can be cruel and loneliness is open to all ages OR you want to see why I prefer Jason Bateman in dramatic roles rather than comedies

Not exact matches

Advertisers are likely to stick with proven strategies, such as comedy or positive emotions rather than controversies such as athletes kneeling during the National Anthem, marketing experts said.

While they did not study this research question, [63] found that people smiled and laughed more and rated an audiotaped stand - up comedy routine more positively when they listened to canned laughter that they thought came from members of their in - group rather than their out - group.

Unlike Dante's Divine Comedy or Milton's Paradise Lost, they are primarily narrative rather than didactic, or more precisely didactic in and through their narrative forms.

Churches would rather do something safe like a barn dance or a pie - and - pea supper or another barn dance because the first one went so well, rather than risk something as socially volatile as a comedy night as part of their outreach.

It's familiar territory, especially for a comedy, but Game Night ultimately leverages the conflict for laughs and disposable gags rather than half - hearted emotion.

The trouble with many conventional pictures of heaven is that they describe eternal life as a vapid and self - centered perpetual enjoyment rather than, as in Dante's Divine Comedy, a rejoicing in the vision of God.

Would there were a poet who might resolve to prefer such situations, rather than the stuff and nonsense with which comedies and novels are filled!

While Thomas's enthusiasm means the show rattles along at a rate of knots, and occasionally provides some decent laughs, there remains a sense that the audience are roaring out their anger over the expenses issue rather than fi nding it a source of comedy.

But maybe a little comedy — appropriately placed and properly used to clarify the science rather than distract from it — can start to change their minds.

I have a very sarcastic sense of humour and would much rather watch a comedy than any other genre.

But as ribald and rambunctious as Game Night gets, Perez's script and much of its comedy comes from a place of love rather than spite.

The same goes for the various villains, who behave as if in a comedy; rather than scripting the film to lighten up on the seriousness, the characters must betray normalcy to better fit insincere resolutions.

It's a movie of smiles and chuckles rather than belly laughs but a lot better than most comedies released.

Unlike their previous two films, The Dictator is structured as a conventional scripted comedy rather than a mockumentary, which comes as a relief after Bruno suggested the format had run its course.

Debut writer - director Chris Kelly, a writer on «SNL,» digs in rather than relying on contrived, movie - ready set pieces (as in the similar «The Hollars»), making this gay «Garden State» rich with naturalistic comedy as well as beautifully touching moments.

But it might have been better if it had focused on comedy first, politics second, rather than the other way around.

The film admirably fights off similarity to Greg Mottola's theme park - set Adventureland by plumping for heartwarming human relationships over comedy, rather than the other way around.

Also screened: Sadako Vs. Kayako (Grade: B --RRB-, an entertaining, teen - friendly marriage of the The Ring and The Grudge mythologies that (thank God) has a sense of humor about itself, even though its final confrontation is less than satisfying; Dearest Sister (Grade: C +), a poetic (and rather slow) meditation on class conflict couched in a ghost story from Laotian director Mattie Do; and Down Under (Grade: B --RRB-, a Superbad - style profane coming - of - age comedy set against the backdrop of the Cronulla race riots that took place in Sydney, Australia in Christmas 2005.

It just dilutes the good stuff, like the presence of The Rock, Rhonda Rousey and Tony Jaa, any of whom we'd rather watch fight than hear another gravelly speech about «family» or endure Tyrese «s comedy - coward schtick.

The twist in Sirk's comedies is that their emphasis is on the situation rather than the resolution, on the problems that divide the characters — all four films are romances of one kind or another — rather than on the contrivances that suggest that all will be well after the final credits have rolled.

Super Troopers was a straight out comedy rather than a spoof on a well known genre, and maybe this is part of the problem.

There was no more perfect movie for this year than Jordan Peele's «Get Out,» with its uncanny mix of horror and comedy, and the way it eviscerated the complicit (white liberals) rather than more obvious targets.

MacFarlane had himself spoke many times about his (and audiences) trepidations in doing a sequel, particularly for a comedy, so in a move more akin to Bond or Batman, the writers disregarded some aspects of the original (noticably Mila Kunis's Lori) and sensibly shifted the focus more to Ted as a «person» rather than even more rambunctious frat - boy shenanigans with his Thunder Buddy John (Wahlberg), and what his existence means for those around him.

That this story is far more interesting means the «comedy» of seeing Ferrell with big hair proves a distraction rather than an entertainment.

Sure, it's a comedy on the surface but at the same time Feig is determined to play the spy angle as straight as possible, as if Spy were simply a spy movie with jokes rather than a satire on the genre.

The most important thing between us was to always remember what happened to the daughter, and even in the edit I had to remember it was a film about that rather than a quirky black comedy.

The comedy is narrative - driven, rather than loosely stitched together à la Dogma or Jay and Silent Bob Strike Back, and the laughs come thick and fast.

At that moment the comedy is in the service of the plot rather than just the usual horny, drunk guys bantering.

The unfortunate thing about most teen comedies is that 99 % of them are content to stick to a tried and true formula rather than tell a compelling tale of teen angst and heartbroken romance.

When Richard declares «My Kingdom for a horse», it is played as a moment of comedy rather than desperation.

I'd wager that a poll of exiting audience members unfamiliar with the original work would yield a much higher percentage of viewers who might regard what they've just seen as a drama with moments of comedy, rather than the ribald farce most who are familiar with the play know it to be.

However, because the movie never reveals a true point, it feels like this is little more than observational comedy, rather than a film dissecting cinema.

For this low - key comedy - drama, writer - director David Gordon Green harks back to the quirky charms of his 2003 gem All the Real Girls (rather than the overt silliness of Pineapple Express or The Sitter).

Set against the crusty, propulsive keyboard plinks of Jefferson Starship's «Jane» (which opens both Wet Hot American Summer and its accompanying series), the trailer overrides American Honey's diegetic soundtrack to give it the low - stakes look of a suggestive teen sex comedy (replete with comedic freeze frames and vintage title cards) rather than the sobering exploration of class and youthful recklessness it is.

What looks like a rather standard buddy action comedy is elevated by a smarter - than - normal script, skilful direction and surprisingly offhanded chemistry between Washington and Wahlberg.

Once you make a comedy film, especially as your first, people will see you as «the comedy writer», rather than a writer.

However, the writers use this premise as a tool to introduce its audience to several wacky characters and five episodes in, it becomes a comedy about a group of people living in a cul - de-sac, rather than cougars preying on young men.

The gags in its immediately iconic nude scene, for instance, are built on self - consciousness rather than titillation — which, in around 110 years of comedy on film, makes it more or less unique.

Now, if you've read any of my previous reviews about raunchy comedies, you would know that I'm not always a fan of these things since many of them rely solely on the vulgarity rather than actually making jokes.

Freeing oneself from the creeping consumerism of the early - Eighties a far cry from championing cocksure malaise in an era defined by that arrogant listlessness, The Girl Next Door goes more baldly for straight comedy, its resolution a series of twists that lead to a collegiate ending rather than an ambiguous close - up of the empty bug - eyed glaze of opaque Wayfarers.

Rather than really developing these issues narratively, the film unfolds with a series of action / comedy set pieces.

With The Nice Guys, Black returns to the sub-genre but this time the emphasis is on the comedy rather than the action, and where better to start than hiring two actors not exactly known for their comedy chops.

Although billed and marketed as a comedy, I feel the need to warn some viewers that The Ice Harvest is more of a thriller with dark comic touches rather than one that goes to tickle your funny bone.

There are so many places I'd rather be than in a theatre watching Forgetting Sarah Marshall, listening to the reaction elicited by three fleeting full - frontal shots of male nudity and trying for the life of me to understand how a comedy that clocks in at nearly two hours could elicit only one real laugh, maybe two.

Rather than feeling like a polished version of reality, The Big Sick digs into the complexities of relationships while never losing Nanjiani's comedy.

It's a difficult film to describe, part drama about longterm love (both platonic and romantic), part ensemble black comedy, part agitprop about personal choice in matters of the end of life rather than machine - mandated life, and all parts delightful.

Sequels to comedies used to be pretty rare, but these days if you make even an okay amount of money studios are going to be much more willing to let you return for another go around rather than take the risk of making an original property on a large budget.