Sentences with phrase «script as a comedy»

He will rewrite the script as a comedy, and will also make his directorial debut with the film.

Not exact matches

Dynamics has since inked deals to create and produce an original unscripted show with Zac Efron for MTV; a comedy show, Wild»n on Tour, with Nick Cannon for MTV2; a scripted show for Animal Planet, starring Anthony Anderson, which Volk - Weiss describes as «The Daily Show for animal lovers»; a comedy special featuring Kevin Hart; and a scripted series for Seeso.

He's started producing original scripted comedies, and it's no coincidence that most of the companies buying them haven't traditionally produced or aired comedy, so don't view him as a threat — at least not at the moment.

You simply couldn't script this whole mess, its like an Ealing comedy of a bygone age, where a bureaucratic nightmare of such proportions should surely only exist in fiction unfortunately the African continent has to contend with as a nightmare of a reality.

i write alot of my own movie scripts, and im developing my own sitcom as we speak.and im also writing a comedy and a horror film soon to be copyrighted and im starring in, directing and filming this winter.

Back when it was planned as an African - American «Ocean's Eleven,» this project might have been edgy, but the script has been whitewashed into a generic caper comedy with pretensions of timeliness.

Mike White, who scripted biting, edgy satire of this sort («The Good Girl,»» Chuck and Buck») before making his fortune with «School of Rock,» serves up an unsettling and generally deft comedy of manners with this clash, a film that greatly benefits from subtle, stinging performances by Salma Hayek and as her opposite number, John Lithgow.

The script's very funny but with the exception of the charismatic Simon Phillips (as a nerdy vampire hunter), none of the actors seem to realise they're in a comedy.

Directed from a Buck Henry script, this uber - dark comedy casts Kidman as Suzanne Stone, a television broadcaster ready and eager to commit one homicide after another to propel herself to the top.

Some of the script is just pure cheese and the one - liners that Defendor constantly spouts are nothing but bits of stupidity marketed as «har - har comedy».

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.

Visceral action (including an opening sequence that masterfully sets the tone for the rest of the film); a sharply written and directed script; rich, dynamic characters; and, as promised, the world's cutest cat (other than yours if you have one) combine to create a gut - busting, endearing, salty - sweet, and highly re-watchable comedy.

that's surprising or unpredictable but as «soft - scripted» comedies go, it has the occasional funny moment.

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.

The first half hour is an excellent, deadpan comedy of alienation that feels like a 21st century riff on THE GRADUATE; momentum slowly fades away as the script yields originality to the conventions of the romantic comedy genre.

Even what's supposed to pass as dark comedy rarely works because the script (written by the film's first - time director David Veloz) never manages to capture the banalities of this industry town.

Stephen Brill's flat - footed script begins as an idiot comedy with the gross - out gags of a Farrelly brothers film.

As I often write, black comedy is a difficult genre to pull off, but thanks to Todd Phillips comfort with outlandish material working from a clever script by Jon Lucas and Scott Moore, it all comes together to form a funny and satisfying movie that belongs next to Apatow's finest in the burgeoning «bromance» genre.

Well, what we didn't tell you (because we didn't know) is that it's a prequel to My Sex Life... or How I Got into an Argument that takes us back to the teenage years of the characters in the 1995 film... And least promising sequel of the week has to be Spring Breakers: The Second Coming, a cash - in scripted by Irvine Welsh and directed by Jonas Akerlund, the man behind such bad - boy music videos as «Smack My Bitch Up» and the 2002 meth - addict comedy Spun.

Gervais — who also wrote the script, adapted from a 2009 French comedy — stars as Ian Finch, a 50 - year - old English expat who wears Dolby and Maxell T - shirts tucked in and is interested in little beyond radio and action figures.

The screenplay had originally been scripted by Edgar Wright (The World's End, Scott Pilgrim) and Joe Cornish (The Adventures of Tintin, Attack the Block), with Wright, who had cultivated the vision of Ant - Man for years, intending to direct, but creative differences saw a divorce from the project (Marvel became more controlling as they grew to massive popularity — a queen ant that expects its workers to keep the colony running smoothly), leading to rewrites by Adam McKay (Anchorman 2, Talladega Nights), and eventually Rudd himself during filming, while fluff - comedy veteran Peyton Reed had been brought in to mold it more in the shape that Marvel Studios had been seeking.

While the script does present a realistic take on the chaos of life with little ones as far as this writer can tell (full disclosure: I am nobody's mother), it still conforms to the tired comedy mandate that at least a half - dozen contemporary pop - culture references must be inserted into the average feature - length script.

Jason Bateman is likeable as ever, but he and Melissa McCarthy can't overcome the tremendously lazy, derivative script that is full of lame jokes that feel like they were carbon copied off of other popular comedies of the past few years.

In all honesty, Poehler and Fey have such a easy - going chemistry together - whether playing an odd couple in Baby Mama or playing off one another as the Golden Globes hosts - that it's difficult to imagine that The Nest won't be - at the least - decent comedy entertainment for their fans, no matter the script / directing quality.

Not wishing to be left behind in the scripted TV game, Bravo is adding a bevy of new, original programming to its development slate, including a kind of reboot / sequel to the 1988 dark comedy cult hit Heathers, which starred Winona Ryder and Christian Slater as two teenagers who rebel against the reign of the Heathers (Shannen Doherty, Kim Walker and Lisanne Falk) in their high school.

Daddy's Home 2 This sequel to the Will Ferrell / Mark Wahlberg comedy brings in Mel Gibson and John Lithgow as grandparents; inspired casting ruined by a weak script.

The dry script, co-written by Emma Thompson, who also features as the deadpan gynaecologist, drains the film of what little potential there might have been for frothy comedy.

Matching big set - piece comedy with small, detailed character writing in a script as sharp and genre - savvy as its execution, Spy bodes very well indeed for Feig's all - female Ghostbusters.

Carrell and Fey have terrific chemistry and the script allows us to see their intelligence, wit and charm develop as they are pushed further and further onto kinds of preposterous situations that a good screwball comedy demands.

If the script would have been reworked slightly, this would certainly have been a great comedy, as it is, it's a decent film with good on - screen gags.

The Artist wins three Golden Globes: actor, score and best motion picture musical or comedy and countless more Oscars, but the absence of a script that does more than sketch faintly Stanley Donen and Gene Kelly's 1952 Singin» in the Rain pushes Jean Dujardin's performance as George Valentin to centre stage to fill the void.

What easily could have been the formula for a run of the mill romantic comedy is heightened and finely tuned by a smart script that has clearly been helped by nine years of rewrites since the screenplay was first conceived as «Divorce Comedy» incomedy is heightened and finely tuned by a smart script that has clearly been helped by nine years of rewrites since the screenplay was first conceived as «Divorce Comedy» inComedy» in 2003.

Remembered mostly as the springboard for John Belushi's volcanic career, Animal House remains one of the smartest and best scripted comedies of the Seventies — an era lousy with excellent American films.

There are occasional bursts of well - observed comedy in Comet «s largely insipid script but they are too few between the dreary dialogue and occasional badly judged observations on subjects such as rape and eating disorders.

He doesn't show a knack for action sequences, and he frequently stumbles in the comedy as well, which is more an indication of a script in need of tweaking than an indictment of talent involved.

Also, as a comedy, the script just doesn't deliver on many laughs, and with a plot this predictable, a few hilarious moments are crucial.

How they were able to make something like losing your job a warm and charming comedy is a testament to both the script as well as George Clooney, Vera Farmiga and young Anna Kendrick.

Another double winner was Peter Kay's «Car Share», earning the Scripted Comedy prize as Kay landed the Male Performance in a Comedy Programme award.

Ferrell does a fairly good job but it's the script and story that really shine, as it touches more on some deeper subjects of life and relationships more than it does the comedy of the situation.

From Ireland, this looks like yet another Hangover - style stag - night comedy, but the script has surprising depth to it, and even the sillier characters find some resonance as the events spiral into the requisite chaos.

If this self - scripted effort isn't as consistently funny as his single - minded previous feature, Adventureland still intriguingly tweaks the horndog - comedy genre.

Kenney went on to build the faux yearbook, radio program, and live show that would make up the Lampoon media empire, as well as co-write the scripts for anarchic anti-snob comedies Animal House and Caddyshack.

Where the film fails is on the script level, which settles for contrived comedy, a no - surprise storyline, and jokes about vapid New York socialites that are as tired as the sexual innuendo that permeates the bulk of the humor.

Kate Dippold's script is kept pretty light basically playing up the comedy as it relies on the strong cast to carry it through.

At last, M. Night Shyamalan has decided to let his freak flag fly, and made the sort of unapologetic B - movie one always suspected he had pent up inside of him; it swerves from dark comedy to 1970s-esque psycho - horror as the irresistibly preposterous script struggles for attention against a delirious lead performance by James McAvoy.

Vividly colourful details in the animation and script bring mythical characters to life in ways that are thoroughly engaging as this riotous action - comedy soars through its epic story.

As Burshtein employs the romantic comedy tropes in her script, she manages to make them feel fresh by rooting Michal's journey deeply in her faith.

As was the case with «Shaun of the Dead,» a smart script and strong characterizations allow the leads to deftly balance comedy and drama.

A script by first - time screenwriter Andrew Sodroski from the 2013 Hollywood «black list» of unproduced screenplays, Holland, Michigan is a contemporary dark comedy set in what Morris describes as «this strange city on the Western coast of Michigan.»

His first true love, Baker turns up repeatedly in Bukowski's work, and she served as the basis for Faye Dunaway's character in Barfly (1987), the raucous comedy he scripted for director Barbet Schroeder.