Sentences with phrase «sight gag by»

The surprise of seeing your face triggers the biggest giggles — make it an even sillier sight gag by using a range of goofy expressions.

The «American Pie» franchise throws in another kitchen sink of gross - out sight gags by screenwriter Adam Herz («American Pie» 1 and 2) in this third, and hopefully final installment, of percolating testosterone commotion.

Not exact matches

If your child is squirming, gagging or even frightened by the sight or smell of a particular food, sensory issues may be to blame.

To be dwarfed by an even larger adversary served as a punchline to the sight gag of a group of hyper - masculine men.

And there are one - liners by the ton, shots at «Terminator» and «Avengers» and «The D.C. (comic book) Universe» and Professor Xavier's «Hogwarts» and «Robocop» and «Annie» and Wolverine and «Frozen» and Jared Kushner and Fox News and Batman, sight gags from «Say Anything» and Ruth Bader Ginsburg and X-Men and, um, oh Canada.

It would be excusable if the one - liners and sight gags were actually, you know, funny, but having Optimus and his gang act like impatient 5 - year - olds and getting peed on by dogs is anything but.

Except for a few individual lines and sight gags, a brilliantly over-the-top action - comedy sequence near the midsection, and some characteristically sharp performances (including the one by Brolin, who imbues what might've otherwise been a granite - jawed killer meathead with recognizable humanity) there's not much to fondly recall here.

The story is no grabber, and the sight gags are labored, but the animation is sleekly pretty, and it goes by painlessly enough.

Anchorman 2, which was written by Ferrell and McKay, is better when it gives in to absolute absurdity: A sight gag involving a slo - mo RV crash is totally, dismissively dumb, but the fact that it's set to Captain and Tennille's «Muskrat Love» makes it inexplicably hilarious.

Retaining the gentle, non-verbal comedy and daffy sight gags of the popular stop - motion TV series — itself a loose spinoff from Aardman's cherished «Wallace and Gromit» franchise — while assigning Shaun and his flock an urban escapade more expansive than their usual short - form gambols, the film should reward small fry and parents jaded by more synthetic kiddie toons.

Produced by Seth Rogen and Evan Goldberg, this combination of satire and slapstick also includes the requisite number of dumb, gross and otherwise icky sight gags, whether in the form of Cena agreeing to a «butt chugging» contest with a bunch of beer - buzzed 17 - year - olds, or some unsettlingly graphic close - ups of male genitalia.

When you cut down Cars as to why it worked, it wasn't for the technical stuff, or the predictable plot, but because we enjoyed the characters the depiction of small town America represented by Radiator Springs, and some clever sight gags and jokey allusions to the world of automobiles themselves.

The songs (many written by Sheryl Crow) often are funnier than entire Adam Sandler films and the sight gags work well.

Directors Letterman, Bibo Bergeron (The Road to El Dorado), and Vicky Jenson (Shrek) are more concerned with making things hip by adding in a soundtrack full of pop and hip - hop stars, references to other movies, and sight gags.

This being a comedic spin, the movie, with Shawn Levy (Night at the Museum 2, Cheaper By the Dozen 2) directing with the blandness that has come to be his stock in trade, includes a «hilarious» pot - smoking scene, repeated sight gags centered on Fonda's enormous breasts, her grandkid's morning poop sessions and a last - minute gay twist that feels as contrived as the rest of Jonathan Tropper's script (based on his best - selling novel).

There are more than a few stretches when nothing much happens save for getting one group of people to the next backdrop for a sex joke or sight gag (frequently at the expense of a freewheeling couple played by Gina Gershon and Gary Cole).

Lost in Paris The latest by married couple Dominique Abel and Fiona Gordon pulls off the tricky feat of getting formalistic whimsy just right, creating a Jacques - Tati - on - a-shoestring romance that never misses an opportunity for a sight gag or other lightweight silliness.

There's no attempt at drama here, just good, old - fashioned screwball comedy abounding with double - entendres and sight gags and anchored by two charmingly presentational and presentationally charming lead performances.

Although much of the humor and tone of the film is on par with it's original source, the sight gags and puns type humor was done to death by better films like Airplane!

Instead, the film shifts to a nice but awkward breakfast, filled with sight gags (how the Queen's aids, played by Rebecca Hall and Rafe Spall, set up a place for the giant to eat), uncomfortable pauses, and resolving with an entire room enjoying — and immediately regretting — a drink of BFG's favorite, fizzy beverage (For a hint as to how that decision goes, the carbonated bubbles go downward).

Their career - defining gross - out sight gags have never been my cup of tea, but just about every one of their films (including their latest, Hall Pass) is driven by an unmistakable — perhaps surprising — humanity.

I didn't laugh once during The Whole Ten Yards because I'm not amused by gay jokes anymore, have finally grown weary of Bruce Willis beating Matthew Perry, have finally grown bored with the sight of Amanda Peet wandering around in her skivvies, am sick of white comedians doing broad minstrel ethnic face, and no longer have a threshold for erectile dysfunction and flatulence gags.

But it got by on sight gags and heart, and a nice dynamic between hotel manager Dracula (voiced by Adam Sandler) and his daughter Mavis (Selena Gomez), as she broke with monster tradition to romance a human.

The unvarying sitcom pacing of the dialogue is relieved only by the equally unvarying music - video pacing of the leaden sight gags.

There's lots of good stuff in this one, from the incredible music by Henry Mancini (Charade, Breakfast at Tiffany's), the brilliant job of Peter Sellers as Clouseau, and some well - set up sight gags.

It's not just fully of sight gags, it has plenty of hilarious dialogue delivered by funny people.

Red herrings abound narratively and literally, Channing Tatum sells a White House Down dig with adorable earnestness and there's a killer Benny Hill sight gag that I seemed to be the only one in my audience to get (it goes by very quick) and things like this allowed me to appreciate 22 Jump Street's «we're the same but we know it» nature more than I pulled against it.

Her journey is met by a constant barrage of sight gags, innuendo, and pokes at popular culture.

There's a gag involving Christopher Meloni soiling himself while wearing a superhero costume that felt so juvenile it belonged in a Seltzer and Friedberg movie as opposed to one with people of this intelligence behind it and a sight gag with a waiter played by Zak Orth having a literal pole up his ass was particularly groan - worthy.

In Son of Paleface Frank Tashlin solved a similar problem for Bob Hope by fully committing the film's sight gags to the mythic grotesqueries and bouncing - back - therefrom of Road Runner — style animated cartoons, but like a ten - year - old kid perpetually yelling «Fake!»

The question remains is whether or not this hushed take on the genre can find enough brave souls willing to try a different and raw take on an concept often represented by cheap sight gags.

Atrocities are followed by jokey riffs and sight gags, and what links them is not a creative sensibility (as would be the case in a Quentin Tarantino movie) but a carnival barker's desperate need to hold on to a distracted audience's attention.»

A smooth blend of clever sight gags and sharp dialogue delivered by an ensemble who clearly enjoy keeping up the pace.

Propelled by an upbeat, big - hearted energy and saturated with witty, age - defying sight gags, this is one film that promises to entertain every member of the audience.

But it features terrific supporting performances as well, especially from male love interests portrayed by Don Johnson, Richard Dreyfuss, Andy Garcia and Nelson, who is responsible for the film's Big Talker of a sight gag, when his character runs afoul of a double dose of Viagra.

Master of None not only has time for random asides like a talk show hosted by Raven - Symoné, it downright delights in them, finding room for jokes and sight gags and offbeat moments.

The repulsiveness of the sight gag is softened by its absurdity — just one reminder of many that this is a movie calibrated to cross the line, though always in service of a laugh.

Manages to squeak by with enough charming set - pieces and amusing sight gags to compensate for a stalling storyline.

Fey and Carlock pushed their irreverent and reflexive comedy to the max, creating episodes that played by like super-brainy live - action Mad strips, musical with speed banter and crammed with sight gags.

If that sounds too heavy - handed, the filmmakers avoid that trap by overloading this material with sight, verbal, self - referential, and satirical gags.

By the time he decides that he can't do it all alone, the film's relentless barrage of witless gags, unsubtle digs and brilliantly animated but repetitive sight gags have pretty much put its audience over the age of 5, to sleep (I heard no laughter during the screening I attended).

In many ways, the filmmakers have bravely crafted the kind of hysterically uplifting, comically inspired marvel Minions by all accounts could have been, fearlessly composing a feature - length opus for kids devoid of dialogue reliant upon visuals, sight gags and musical cues to get the job done.

Replete with sight gags and punchlines that, by comparison to today's standards, feel sophisticated and novel, Planes is of course capped off with a happy and wholly satisfying ending that epitomizes the feel - good spirit of the holiday season.

One might expect an artist to begin by emulating the old masters and then progress into more innovative work, yet Kovacs followed the opposite trajectory: his influential spoofing of TV (which seems so old hat now) gradually gave way to a dazzling talent for classically constructed sight gags (which, parodoxically, seem totally fresh).

His earlier films, funny as they are, are hampered by unevenness and overemphasis, and by the kind of selfcongratulatory distrust of the audience that makes Brooks hold his shots too long, zoom in insistently on his sight gags, use the same joke again and again under the misapprehension that that makes it a running gag, or — when in doubt — have an unlikely person say «bullshit» or burst into Cole Porter.

Yet his brilliant and surreal sight gags, the like of which have disappeared from the tube entirely, were inspired by the great movie comedians of the silent era, especially Buster Keaton.

Directing from a screenplay by Kogo Noda, who went on to write many of Ozu's greatest films (including Tokyo Story, 1953, and Floating Weeds, 1959), Ozu fills the film with deft sight gags, many thanks to the antics of the son, yet there's undercurrent of desperation to the comedy.

Though its origin loosely comes from a three - decades - old book for kids, the original wit in the script, as well as the cavalcade of sight gags, will likely be appreciated by young and old alike.

In one instance, a set of inexpensive consumer goods haunted by physical, mimetic and mythic affinities to sausage making are summoned, to reenact a centuries old sight - gag.