Sentences with phrase «slapstick characters»

A photograph bends up from floor to wall like a stage for the domestic prop placed upon it, an image of a wine glass and crystal decanter lies shattered on the floor, and slapstick characters call to each other across the wall.

To say the director butchered Tim Burton's established vision of Gotham City with his campy, slapstick characters is an understatement.

Not exact matches

The way they act is very slapstick and reminds me of a certain pantomimic characters which why I think they're the best mascots in the sporting world

It centers on a rivalry between its two main characters, Tom Cat and Jerry Mouse, and many recurring characters, based around slapstick comedy.

In Strings the sex was played mostly for slapstick jokes, but the sex here is very much in character.

The fact that the trio of actors are now adults is reinforced as Ron is disguised behind a beard that makes him look like a dashing Musketeer rather than a slapstick fancy dress character.

Yet the humor is rather tame and tries to get by on standard slapstick gags and stereotypical silly characters.

The film's bouts of slapstick and sentiment sit slightly oddly with its downbeat tone, but if Wilson isn't entirely consistent as a character, Harrelson is consistently funny — and if anyone can make a sociable misanthrope believable, he can.

Their characters are both evil and slapstick and it's not a combination that fits the tone of the film.

Yep, this is Aardman's first sports movie, filtered through director Park's specific sensibility of slapstick foolishness, with deadpan animal sidekicks, endless puns and actors like Tom Hiddleston, Maisie Williams, Timothy Spall and Miriam Margolyes having a lovely time lending their voices to his buck - toothed, beady - eyed Plasticine characters.

Ashby's instincts are so off throughout Lookin» To Get Out that he only accentuates his major weaknesses as a filmmaker - plot twists, slapstick, chase sequences and lots of screaming that eschews any character development or scenes of insight.

Fast and funny, filled with memorable characters, and able to balance slapstick and violence without spilling too far in either direction, this frenetic R - rated farce is that rare comic gem that lands on all the spaces without ever going to jail.

Some scenes are almost slightly pantomime-esque with some slightly funny moments of comedy and slapstick which do lighten the mood (mainly at the start before the characters enter the war).

It's not low - brow comedy or slapstick at all, but a very well - written and acted show, which slowly makes you really love the characters, mostly for their flaws.

A breezy, passably funny spin on a children's classic, mixing slapstick and farce with character humour and delighting in demolishing stereotypes.

This one is different from the rest of the Sandler slapsticks, because here, he's putting forth everything he has to make his character utterly hilarious.

Critics Consensus: Though unabashedly crude and juvenile, Caddyshack nevertheless scores with its classic slapstick, unforgettable characters, and endlessly quotable dialogue.

Critic Consensus: Though unabashedly crude and juvenile, Caddyshack nevertheless scores with its classic slapstick, unforgettable characters, and endlessly quotable dialogue.

Summary: Steve Coogan knows this character backwards and excels in both physical slapstick comedy and in his comic timing.

As the plot is thin, there's a lot of filler with side characters, including Octavius (Coogan, Philomena) and Jedediah (Wilson, The Grand Budapest Hotel) falling through an air vent and ending up in a replica of ancient Pompeii, Lancelot (STevens, The Guest) crashing a West End stage production of «Camelot» starring Hugh Jackman, and lots of not - too - funny broad slapstick involving Larry trying to corral an energetic caveman he's named Laaa who happens to be his spitting image.

Far more clever and witty than the knockabout silliness promised by the coming attractions, this is a film that is more interested in character comedy than slapstick and gives Melissa McCarthy the most appealing role of her career and allows Jason Statham to deliver one of the most unexpectedly hilarious comedic turns in recent memory.

Goldie Hawn, «The First Wives Club» Perhaps the biggest injustice on this list is that Hawn, a triple threat wildly gifted in the slapstick department, did not win any of the awards her character Elise owns in this classic 1996 comedy.

The stern seriousness of Bruce Lee and his imitators abandoned in favor of manic slapstick; the rock»em sock»em chaos of Buster Keaton made manifest in ancient China; the bone - shattering elasticity and indestructibility of a man who seemed less human being than cartoon character.

It's not brain dead comedy created solely for slapstick humor but has a self - depreciating way of portraying the life of its central characters and their actions.

A common film formula found in 1980's slapstick comedies is the riches - to - rags storyline in which a wealthy character is subjected to living like a member of a lower class.

A whip - smart blend of savvy parody, elegant slapstick and zinger - packed dialogue makes for the year's most rewarding character comedy so far, and McCarthy's best showcase to date.

The Darwin Awards isn't without merit, as it does feature a few nice performers, a zestful energy, and an occasional burst of cleverness that actually seems genuinely inspired, but all in all, perhaps Taylor should have trust his characters and interesting premise more, instead of throwing everything at us he can muster in terms of celebrity - dropping and forced slapstick shenanigans.

It's kind of nice that Talt doesn't resort to slapstick - y hijinks or gross - out humor; his screenplay, however functional the characterizations, is at least rooted in the interactions and recognizably human frustrations of those characters.

As well as being a laugh out loud slapstick comedy rendered in gorgeous Lego visuals and crammed with DC Easter eggs and visual jokes, The Lego Batman Movie is one of the best character studies of the Dark Knight out there.

The whole film is wobbly enough that many of scenes could be moved or cut altogether with no effect, with one obvious example being a stop - over in a village, where Snatched makes some half - assed attempts to paint Emily's largely unsympathetic character in a better light and tries (and fails) to mount a gross - out slapstick bit with a cheap - looking CGI tapeworm.

Sidesplitting, high attrition - rate, S&M slapstick where you get to savor the sight of characters getting tortured to death about five times each, if that's your bag of grass.

It starts with a concept that's right out of an issue of either Cracked or Mad, with parodies of characters from several different films teaming up with each other for an adventure, but at every turn, it attempts (and fails) to score its laughs via gross - out gags, slapstick, or just the uttering of obscenities... though, of course, it never gets so obscene that they lose their PG - 13 rating.

See it cropping up in the character of Drew's widowed mother: in a flurry of manic energy after her husband's passing, Hollie (Susan Sarandon) proceeds to improve herself by learning stand - up comedy and tap - dancing — anything that will allow for slapstick comic whimsy (in learning to fix a car, the hood falls on her and she kicks her legs hysterically), which becomes as deadly as cancer during an ill - considered eulogy at a memorial service that stands as one of the most painful moments in movies this year.

Ernst Lubitsch had a significantly prolific period in Germany — probably only familiar to the most devoted of fans — in which he played a slapstick comic character by the name of Sally Pinkus.

While the story isn't particularly original, and the movie tends to drift over the top into broad slapstick, this comedy wins us over due to the camaraderie between the characters.

It may be a somewhat awkward mix of comical slapstick, political ideas and darker drama, but the characters...

She fares OK all things considered, showing an admirable willingness to make a complete fool of herself, as her character is repeatedly subject to all manner of slapstick abuse (drunkenness, wall climbing sabotage, a gushing catheter), though she projects adorability more than charisma.

The middle parts of «Fantastic Beasts» are the draggiest, when all the slapstick, chase scenes and whimsical smashing and breaking of things mask a lack of character development.

The raunchy comedy Bachelorette has its fair share of conflict as the women try to repair a torn wedding dress during the never - ending night before the wedding, but it's less concerned with slapstick and more concerned with the unhappy, aimless paths of its characters.

I think we're used to a variety of funny characters with a memorable voice cast, a witty script, and lots of slapstick along the way.

Every scene is constructed with a need for mass appeal, targeting slapstick for the kiddies and plenty of old film references for the adults, and almost all of these are a distraction from the main story, rather than a means to enhance the characters or plot.

Director and co-writer Paul King includes a few big slapstick moments, but they arise naturally out of the character's unfamiliarity with the civilized world, and only one brief burp / fart joke enters the proceedings.

Allen's screen character (and here's where his undisputed verbal talents undermine him) is too much, too often, and too selfconsciously the cynical verbal sophisticate to credibly commit itself to the naïve physicality that slapstick and prop comedy demand: a mouth full of bons mots and a body full of anarchy have problems coexisting organically in a single comic presence.

It's just too bad that the slapstick here is completely uninspired, often falling into the cliché territories of characters hitting their heads or falling out of windows, or flashing their genitalia at German soldiers.

But it's much more fizzy and action - packed than its successor, rife with slapstick comedy and some very broad, uncomfortable racial humor centered on the exchange - student character of Long Duk Dong (Gedde Watanabe).

Slapstick violence is a staple of this comedic film with characters being hit, electrocuted, run over, dragged behind vehicles and attacked by piranhas.

There are also some unforgettable scenes, notably a long, bizarre sequence of slapstick that intentionally seeks to characterise DiCaprio and Hill's characters not only as destructive but as dehumanised, wild animals.

Most of Pacific Rim: Uprising's energy comes from Boyega and Spaeny — though Charlie Day and Burn Gorman (reprising their characters from the first film) add a certain weird, almost slapstick energy that keeps us interested during the science stuff.

Like the cartoon violence of «The Three Stooges,» «Tom and Jerry,» and the «Looney Tunes» characters before them, that's the joy of slapstick comedy.

However, most of the film runs along without much catering to its main plot, concentrating more on its characters, tossing up some pretty clever gags and side stories involving such things as the making of jams, the girls» trying to help Gru to get them a new stepmom, Margo's romantic stirrings, and a good deal of Minion slapstick shenanigans, which will no doubt make this a hit for the kiddies.