If this brings to mind images of pie - throwing
slapstick farce, relax, that's not what it was all about.
Verbinski on the other hand, has had a versatile career that has taken in huge Hollywood blockbuster franchises in the form of PIRATES OF THE CARIBBEAN,
slapstick farce in MOUSEHUNT, and horror in the remake of THE RING.
I know this is
a slapstick farce, with aspirations to follow in the broad comedy tradition of a «National Lampoon's Christmas Vacation» or even the first «Home Alone.»
Considering the almost compulsively static aesthetic of Allen's recent output, it's hard to believe that the director could ever have made such a frenetic
slapstick farce as Take the Money and Run.
Oh, he has it already...» — the story tumbles into slick,
slapstick farce as Tory «pitbull» Sir Norman Cavendish (Simon Shepherd) starts sniffing around the home (or is it the second home?)
Not exact matches
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.
A breezy, passably funny spin on a children's classic, mixing
slapstick and
farce with character humour and delighting in demolishing stereotypes.
In the vein of «us poor guys against those rich s.o.b.s» begun with Animal House comes this
slapstick laden
farce of the same hijinks on a snobby golf course.
Whereas a hit like Wedding Crashers struck such a balance somewhat awkwardly — structured so that the first half was for boys - boy rowdiness, and the second half for girly - girl romance — Apatow's latest tackles both exigencies nearly simultaneously, a considerable feat aided by the writer - director's adept ability to wring laughs not from outrageous
farce and
slapstick but, instead, from real - world situations and dilemmas.
For some,
slapstick and
farce hit the spot while more cerebral fare falls flat.
Though elements of the Zhang style are readily evident — chiefly the ravishing cinematography (by frequent collaborator Zhao Xiaoding) and a color palette so rich you could eat it for dessert — the movie, entitled A Woman, a Gun and a Noodle Shop, is a less harmonious hybrid, one that shoehorns elements of broad
farce and
slapstick into the Coens» meticulous tale of lust, deception, and murder.
While it may have looked hilarious on paper, the delivery is often bland throughout, finally imploding in the last few scenes where the entire cast is forced into
slapstick shenanigans and obtusely - conceived
farce.
Alas, Binder tries to tread the line between philosophy and
farce, satire and
slapstick, and with so many contrasting story devices, the imbalance of mood finally does the film in as a potentially intelligent piece of entertainment.
It's not a feature or even a short, per se, more of an experiment shot to accompany a production of the theater
farce «Too Much Johnson,» but at least the first section plays just fine on its own as a tribute to silent
slapstick comedy with Joseph Cotten doing Harold Lloyd antics and Buster Keaton chases as a serial philanderer pursued by a jealous husband.
All three actors are set to star in Enda Walsh's The Walworth
Farce, a quick - fire comedy complete with
slapstick violence and camp cross-dressing sequences.
That air is reinforced by the aspects of
farce, comedy of manners, and even a little
slapstick that continually make themselves felt.
There's a serious element to it as well as
slapstick and
farce.»