Sentences with phrase «satire of»

This year the Greek director moves up in the ranks of the festival by competing for the Palme d'Or with his star - studded English - language dystopian love story The Lobster that can also ironically be described as a satire of our relationship and dating - obsessed society where couplehood represents the superior way of life.

Star Ryan Reynolds has promised «the world's most ridiculous reaction video» if the film is actually nominated for an Oscar, but until then, there's this tongue - in - cheek take on «For Your Consideration» ads, which, like the movie's off - color satire of superhero movies, not - so - subtly doubles as the real thing.

When he infuses a scene of solitary discovery with bulk - sized acting, the performance turns so big, so over-the-top that it's left to Danny Cohen's beautiful photography to keep the pic's signature moment from coming off as satire of awards - bait.

Clocking in at over four hours in two rich parts, at least in the edited version debuting this weekend at Toronto's Lightbox, it's a landmark of seriocomic storytelling that is simultaneously a satire of biographical tall - tales, a depressive's bildungsroman, and an alternately tender and lacerating self - portrait, defending all the Joes and Larses of the world for their obscenity without sparing them the lash.

It's hardly even worth complaining, then, that Anchorman uses its faux satire of the 1970s as an excuse to play out male fantasies of knocking uppity women — like aspiring anchorwoman Christina Applegate (View from the Top, The Sweetest Thing)-- back down into their proper place; as with the new Stepford Wives, Anchorman pretends to send up passé attitudes while actually expressing very contemporary fears.

Force Majeure is a comedy of passive aggressiveness, a scathing satire of masculinity, delivered with Kubrickian unease by writer and director Ruben Östlund.

The Pirates of the Caribbean actually serve less as satire of the Disney swashbucklers than as part of a feeble take on the much - downloaded «SNL» rap short «Lazy Sunday.»

The new «RoboCop» lacks the cheeky satire of the original, but it's got a great cast and the visual effects are pretty dazzling.

The film is essentially a dark satire of contemporary consumerism, but to describe it as such is to hide just how incredibly bizarre it is.

It's a canny satire of the vampire genre even as it's an honourable addition to it, exploring those metaphorical elements that transformed vampirism in the»80s into the equivalent of being the «cool kid» (The Lost Boys), the rock star (The Hunger), and the eternally demon lover (Fright Night).

Peele's satire of racial violence arrived as real - life hate crimes were on the rise and neo-Nazis were on the march.

Synopsis: The ugly duckling of a fraught middle - class household has her life turned upside - down by the arrival of a handsome German exchange student, in this caustic, absurdest satire of petit - bourgeois family life.

Refn's excessively literal satire of the cutthroat world of modeling sure looks pretty thanks to some stunning visuals, but there's no real story to latch onto.

Satire of this sort is delicate, and Balaban has the same problem that Paul Bartel had in «Eating Raoul,» another comedy about cannibalism: The more a movie addresses itself to our secret terrors, the harder it has to work to be funny - because at some level, of course, it is attempting to convince us to eat our pet rabbits.

The problem of the film is a tricky one, as The Clearing works mainly as a satire of white folks in the same way that White Chicks does.

The film plays out as a light satire of campus manners airlessly trapped within a bell jar of dour seriousness — what Allen in «Annie Hall» once called «heaviosity.»

With a telepathic talking dog as his traveling companion across the apocalyptic waste, he stumbles from the brutally sardonic into a farcical satire of heartland America when he discovers an underground city whose citizens have maintained their apple pie society — at a cost.

As was true with zombie films and «Shaun of the Dead,» «Hot Fuzz» isn't so much a satire of the buddy cop genre as it is a fanatical love letter.

Downsizing by George Wolf Word is, writer / director Alexander Payne has had the Downsizing idea for years, apparently waiting for when a satire of endless greed and unapologetic self - interest would feel... read more →

The movie tries to juggle Michael Mann-esque high - octane cop action with Network - like satire of media, but becomes a bit too pulpy and conservative to make it work.

Designed as a ruthless satire of everything from Youtube celebrity to viral videos to America Idol / The Voice culture, a microcosm of a world in which website hits directly correlate with self - worth (hence the film's title).

The result was the groundbreaking Tanner» 88, a piercing satire of media - age American politics, in which actors Michael Murphy (as contender Jack Tanner) and Cynthia Nixon (as his daughter) rub elbows on the campaign trail with real - life political players Jesse Jackson, Gary Hart, Bob Dole, Ralph Nader, Kitty Dukakis, and Gloria Steinem, among many others.

It's a problem when the biting satire of your comedy is so polemical that it forgets to actually be funny.

G.B.H. (Acorn) A savage satire of Thatcher - era party politics and a devastating drama of power and corruption and simple moral courage, this brilliant British mini-series is dryly funny, constantly surprisingly and thoroughly engrossing, and features such a heartbreaking turn by Michael Palin in a rare dramatic role.

Fitting in that the film is a satire of the kind of people who vote to give awards at Cannes.

In this hysterical satire of Reagan - era values, written and directed by Albert Brooks, a successful Los Angeles advertising executive (Brooks) and his wife (Julie Hagerty) decide to quit their jobs, buy a Winnebago, and follow their Easy Rider fantasies of freedom and the open road.

The superhero movie was given the punk - rock treatment in Matthew Vaughn's «Kick - Ass,» an irreverent satire of the genre that scored with critics and audiences alike.

Despite claims that the film is based on Arthur Schnitzler's 1897 stage play, «La Ronde» — a biting satire of class transgression in fin de siècle Vienna with heaps of sex — 360 offers us a prettily shot, carefree world where even generic Eastern European pimps and buzz - cut American sex criminals have a clean shot at redemption.

The real distinguishing quality of Confessions of a Dangerous Mind is that it is a big - budget biopic that acts as simultaneously a satire of, and adherent to, the familiar progression of the genre — the layers of self - reflexivity so multi-foliate and rich that it comes as no surprise that screenwriter Charlie Kaufman (Adaptation., Being John Malkovich) is the scribe responsible for its slipperiness.

In the 1956, we had «Invasion of the Body Snatchers,» which could be interpreted either as an allegory of Communist infiltration or as a satire of McCarthyite conformism.

Wright's kinetic directing style lends itself perfectly to playing into horror's most beloved tropes and serving as both an satire of and an homage to its predecessors.

With W., his insightfully funny satire of George W. Bush, Stone turns the bumbling but affa..

Consider, too, the sharp satire of that year's Starship Troopers, the first salvos in the fin de siècles navel - dive in Gattaca, and the good time / memory erasure of mega-pop Men In Black.

WHY: Though it seemed unlikely that Universal would even greenlight a sequel to Matthew Vaughn's punk - rock satire of the superhero genre due to the more sadistic nature of the story, director Jeff Wadlow has done an admirable job adapting it for the big screen.

Lost In America is equally potent as a satire of the road movie and of the American dream of endless mobility and escape.

Here it is, your chance to make a triumphant return to madcap, screwball comedy or give us a witty, scathing satire of Hollywood, and this is the result?

With W., his insightfully funny satire of George W. Bush, Stone turns the bumbling but affable president and his entourage into Dr. Strangelove.

Originally, the movie was going to be a satire of the original series, but it was later decided to make the film more family - friendly.

WHY: «What We Do in the Shadows» sounds like a bad comedy sketch — a «Real World» - esque reality show with vampires in place of horny millennials — but it's actually a very funny satire of the vampire subgenre that's done in the deadpan style of a Christopher Guest mockumentary.

YOUR FRIENDS AND NEIGHBORS Director Neil LaBute («In the Company of Men») has made a desperate, foolish and boyishly tasteless film about middle - class sexual transgression that seems intended as a satire — but a satire of what?

A classic film that mixes the rom - com formula with expert satire of US TV news and the emotionally dysfunctional, type - A misfits who work in it.

Worse yet, there's little momentum to this alleged satire of the golden age of filmmaking, there's little congruency of narrative and there's even less holisticness to the events once they've all been assembled.

At its core, this is a satire of the inanity of the 24 - hour cable news cycle.

The witty and mobile satire of traditional tabletop RPGs delivered solid gameplay with humor that kept us coming back for more.

Pair With: 22 Jump Street — for more of Lord and Miller at their best, offering the other half of a surprisingly hilarious and pointed satire of Hollywood, franchises, sequels and action movie tropes.

No mere jigsaw movie, David Fincher's thriller is also a nuanced character study, a satire of corporate culture, and a film about filmmaking.

Aside from Pretty Woman, Runaway Bride must also face comparison with Roberts's early - summer romantic comedy hit, Notting Hill, and again the newer film falls short; it lacks the running satire of Tinseltown celebrity that gave that fluffy film an unexpected edge.

Nightcrawler shines as a character study, a mood piece, and a crime thriller, but perhaps its greatest victory is as a darkly comic satire of the lengths to which we are told to go to succeed in America.

Viewed today, Edgar Wright's comic satire of small town English attitudes feels scarily prescient.

ask reunited lovers Dustin Hoffman and Katharine Ross in Nichols» pungent satire of Sixties youth.