Sentences with phrase «screwball movies»

The philosopher Stanley Cavell has called the classic screwball movies like The Awful Truth (1937) and The Lady Eve (1941) «comedies of remarriage,» in which couples are rudely bounced from their Edenic connubial gardens and reunited (after a series of farcical / magical contrivances) in a spirit of wry realism: This time they know they'll live bumpily ever after.

will also be an interesting blend of themes and subjects, all under the guise of a throwback, screwball movie.

The picture opens to frenetic scenes of partying (but not the typically screwball movie kind of partying), Sutter accompanied by the equally feisty Cassidy (Brie Larson).

Not exact matches

Really, that screwball 2016 movie?

The pace of Star Wars is rapid fire for most of its hour and 57 minutes, and the script is filled with a verbal and visual wit that has been rare in Hollywood movies since the screwball comedies of the «30s.

The movie acts like screwball comedy, but there are no laughs as Daisy and Jay's connection lurches toward implausible romance.

But to complain that nothing much happens here or ponder the film's curiously tame view of university life (Rodney Dangerfield would most definitely get no respect here) is to miss the point of the movie, which is to serve as a vehicle for McCarthy, spotlighting her warm, screwball spirit and irrepressible physical comedy.

A screwball road movie set in a middle - of - nowhere town, Kwik Stop suggests «It Happened One Night» as reimagined by David Lynch or Hal Hartley.

A one - joke movie if ever there was, but the joke happens to be a good one — a Tracy - and - Hepburn - style battle of the sexes in which Kate can fly and blast through walls — and director Ivan Reitman (who made Ghostbusters) feels at home with the mix of screwball and supernatural.

It is a long melodrama, an action movie, a screwball comedy, a romance, a con film, a religious devotion, and, of course, a musical.

A throwback screwball about football in the 1920s, the movie — also starring Renee Zellweger and John Krasinski — is not particularly successful, but it's an amiable diversion.

Amelia Earhart (Adams, Doubt) has a personality based solely on female screwball - comedy heroines given to us from movies of her era (she's plucky, resourceful and inventive).

It's when the film finally brings them all together — at the hole - in - the - wall Donut Time, where the movie began — that Tangerine really reaches its screwball zenith.

• The movie was the Coens» first — and to date, only — stab at romantic comedy, though with generous helpings of noir, screwball, and Hollywood satire thrown in.

This is a classic screwball comedy made brand new, exactly the kind of movie Howard Hawks and Preston Sturges and Grant and Gable and Hepburn would be making today, with hysterical gags, slapstick moments, perfect timing, and dialogue so sharp it leaves teeth marks.

But then Martha has these odd moments where she acts like an actual person that don't jive with the heightened screwball tone of the rest of the movie.

This all too rare comic foray for the actress found Sidney as a Ruritanian princess and lookalike actress (yeah, it's one of those dual identity movies) has a screwball spin on its now familiar curves.

His slangy eloquence, his brilliance at scene making, and his nose for the zeitgeist fostered a slew of smash movie classics, including the seminal silent gangster film Underworld (1927), which won the first Oscar for best original screen story, and its sound - film successor, Scarface (1932); the screwball satire Nothing Sacred (1937); and the seductive romantic thriller, Notorious (1946).

Both appear to be agents» packages first and movies second, so that even though they're trying hard to recapture the feel of Hollywood standbys — the heist thriller and the satiric screwball comedy — they seem to proceed from the premise that all that's required is to throw the right number of «talented» elements in the same direction.

The movie plays into screwball humor and some plotlines we've seen in Date Night or Cary Grant and Audrey Hepburn's Charade, but this is a sweet couple who brings out the lovey - dovey chemistry.

It is not a coincidence that no one has attempted to make a screwball comedy since this movie came out.

Greta Gerwig, the one - time mumblecore starlet who wrote and directed the movie, has already established herself as a poet laureate of anxious youth, having co-authored and starred in Noah Baumbach's bittersweet, screwball study of arrested development, Frances Ha.

«Those [screwball] movies are highly verbal, but they're also very physical,» said Baumbach.

As with «Frances Ha,» the movie adopts the tone of a screwball comedy to explore the frustrations and aspirations of young women — one of whom played, once again, by an endearingly wacky Gerwig — but it has a more conventional structure and cynical attitude that synthesizes the two authors» distinct voices.

Silver Linings is one of the most charming movies of the decade and a delightful throwback to the zany screwball romantic comedies of the «30s and «40s, a better tribute than the previous years Best Picture winner The Artist.

Jonathan Demme's breakthrough movie is many ways his best and certainly his most enjoyable, a screwball fling that takes a road movie turn into darkness.

And yet, on its own terms, The Terminal is charming, reminiscent of the sophisticated screwball comedy of Preston Sturges and Ernst Lubitsch — neither of whom always cared whether their movies stayed rooted in reality.

Laurie Boeder is a lifelong movie fan and professional writer who especially loves the fabulous Hollywood films of the»40s,»50s and»60s, and has a soft spot for screwball comedies, cheesy old sci - fi, and old - fashioned patriotic potboilers.

by Walter Chaw An unlikely romance, an unlikely road movie, and an unlikely buddy picture all in one that somehow works (and with a surplus of charm and sweetness), Joel Hopkins's debut feature Jump Tomorrow could be described as either Harold Lloyd by way of Jacques Tati or Jim Jarmusch by way of Thirties screwball.

Also, the movie's main shortcoming is that it does not always walk the line between a satire and a screwball comedy, which may not appeal to casual fans of the Coen brothers and sometimes takes away from the clever dialogue.

That philosophy came in handy once more when he decided to revive a long - dormant movie genre — the screwball romantic comedy — back when action flicks like «Lethal Weapon» and «Die Hard» were the rage, with 1990's «Pretty Woman,» an unlikely Disney fairy tale about a beautiful streetwalker who falls for her rich prince of a business - exec client that turned Julia Robert into a superstar.

2016 at the movies got off to a great start with the Coen Brothers» old - Hollywood screwball extravaganza Hail Caesar, and while Channing Tatum did his level best with a tap - dancing - sailors production number to steal the show, the MVP ended up being the unassuming angelic face of Alden Ehrenreich.

The kind of comic actor that Anna Faris represents, and the kind of unabashedly screwball comedy that she embraces, is quite possibly rarer than a comet hitting Earth — or a good, solidly - made American movie comedy.

Only part film noir — the rest is gangster movie parody and screwball comedy — but noir can be proud to claim even a portion of the greatest American sound comedy.

It's always a bad move in a screwball comedy to take your own characters and plot too seriously, and for long stretches, director Mel Smith (Bean, The Tall Guy) fancies Blackball as a movie worth taking seriously.

As a result, the movie plays more like a screwball comedy than a violent action thriller, though it contains many pieces of the latter and hardly any of the former.

Repeatedly, the movie fumbles away any sense of accrued momentum or suspense, with screwball inflections and other oddly timed freak - outs.

And yet, it works, not unlike The Fighter and Silver Linings Playbook, because we meet it halfway with our own awareness of the forebears Russell lightly subverts (whether underdog sports movies, screwball comedies or, now, Scorsese's American crime epics), and we're willing to fill in the blanks to enjoy trappings like Bale finessing Irving's «rather elaborate» combover or Lawrence yammering Rosalyn's way into getting what she wants.

Given that superhero satires pre-date even these screwball spoofs, Superhero Movie resembles its arch villain: near death and pathetic, having to suck the life juice out of anything and everything it can to maintain just enough heartbeat before ultimately expiring to many sighs of relief.

How can any true movie fan not love the screwball comedies of the 1930s and 1940s?

The movie's slapstick shenanigans and ridiculous plotting wear thin, but screwball comedies have always relied heavily on the chemistry of the stars.

It works as a screwball comedy if you're willing to embrace its strange but strong charm, as well as its ridiculous scheming later on in the movie.

Like that film and Wes Anderson's «The Royal Tenenbaums,» «The Meyerowitz Stories» is very much about the burden of having a difficult dad, although toward the end I could have sworn the movie also morphed into a screwball remake of «Summer Hours,» Olivier Assayas» wonderful 2009 film about three siblings trying to figure out how to deal with an artistic inheritance.

Baumbach: Initially, I wanted to do a comedy about marriage, something in a tradition of adult comedies about marriage, starting with the screwball comedies but also connected to movies when I was growing up, like Broadcast News, or Working Girl, or Tootsie.

The best scenes from Taylor Hackford's new movie, The Comedian, have the smart, punchy pace and content of a classic Hollywood screwball comedy: Robert De Niro's comedy club scenes have a fresh sparkle that suggests improv and show him in a...

Gerwig and director Noah Baumbach conceived «Mistress America» as a tribute to the screwball comedies of old, giving the movie a manic, theatrical fizz - characters running in and out of frame, dialogue coming in volleys.

Clooney is clearly a fan of screwball comedies (as witnessed in past films with the Coen brothers), and while a movie like this certainly doesn't need someone like him behind the camera, it's a project that he's passionate about.

It evokes the screwball comedies of the»30s,»40s, and»50s (His Girl Friday comes to mind), and it's the movie's grand showcase.