Sentences with phrase «slapstick gags»

The game seems to have a good sense of humor about itself, with lighthearted dialogue and slapstick gags aplenty.

There are slapstick gags that never result in any serious injuries.

If you come in with no real expectations, as I did this time around, you may very well spot the film's transparent design and be bothered by its obnoxious execution of country songs, slapstick gags, and belches.

Silent Movie is a wholly inspired comedy from Mel Brooks (Young Frankenstein, Blazing Saddles), a modern day silent movie, complete with slapstick gags and satirical digs at modern Hollywood.

But one wonders if writer - director Paul King has consciously decided to avoid the criticism Richard Curtis regularly receives for all - white casting; there are also very decent cameos for Richard Ayoade, Sangeev Bhaskar and Meera Syal and much diversity among the minor roles.Prettily made with some nifty animation and some very enjoyable slapstick gags, Paddington 2 is ultimately an insidious advert for the capital.

There are some funny moments to be had, such as a couple of good one - liners and slapstick gags here and there, but for every one of those, there are a handful that don't quite work.

The punch - ups repeat the original film's run of slapstick gags, but they still amuse.

Though at times he's been presented as little more than a attention deficient 12 - year - old boy in an adult murderer's body, there have been cases where the character has been presented as a bit more than a simple collection of crass one - liners and hit - or - miss slapstick gags.

How you'll react to this first footage likely depends on your tolerance for a torrent of slapstick gags.

Kevin — The goofy, emu - like bird from «Up» has some of the best slapstick gags and mannerisms Pixar has ever come up with.

That leaves two potential demographics for the movie, with a wide age gap in between — older audiences who recall the original black - and - white Stooges shorts and features, and small children who will be receptive to the barrage of silly slapstick gags and pratfalls.

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

The world oil market is starting to resemble the old slapstick gag about the French Foreign Legion.

A broad slapstick gag involving a mishap with Brad steering Dusty's motorcycle is almost surreal in its over-the-top absurdity that one can't help but cackle.

Not exact matches

Even by modern day standards in which slapstick comedies aren't vogue, Chaplin manages to sell the most inane gags.

But there's still not quite enough going on here, either in terms of humor or excitement; small children are likely to be disappointed by the paucity of silly slapstick or bathroom gags, while their older siblings will probably fidget at the lack of scares.

«American Wedding» is rated R for non-stop crude humor (gags and references about sexual and other bodily functions), frequent use of strong sexual profanity, female and partial male nudity (done for laughs), simulated sex and some slapstick violence.

Often reviled in his native United States but worshipped as a genius throughout much of Europe and especially France, Lewis took slapstick comedy to new realms of absurdity and outrageousness, his anarchic vision dividing audiences who found him infantile and witless from those who applauded the ambitions of his sight gags, his subversions of standard comedic patterns, and his films» acute criticisms of American values.

And we have the slapstick - driven climax - having somehow managed to get Kevin back in an actual house - in which the only sensible moment is the lampshading of the gag with the swinging cans of paint.

Critics Consensus: Playing Jack Frost as an evil cross between Liza Minnelli and Liberace, Martin Short is a welcome presence, but this tired series continues drawing from its bag of bland gags and dumb slapstick.

What is truly delightful about the film is its loopy, gently slapstick sense of humor, its use of continuous running gags that pay off cumulatively (no small feat), and the dreamy sense that Schilling's somnambulism is pierced through only by the insane incomprehensible behavior of others.

The film has a suitable mix of serious predicaments tied into the crude gags, brutal slapstick, the completely unexpected, hilariously coarse language, and (no longer) limits - pushing nudity (unfortunately mostly male).

(He has agreed to bankroll the grandkids» education as long as they're sent to yeshiva, a plot detail that occasions some rather splendid slapstick ancient - rabbi humor, including a gag about «the YouTubes.»)

The Guardian continues the praise for Whedon's direction, noting his «keen ear for comedy, a no - nonsense approach to ditching the gags that don't work, a deft hand for slapstick and an eagerness to use it.»

What transpires from there can only be described as a series of attempts to keep upping the ante on gross - outs, one liners, animal gags, and slapstick that doesn't add up to any kind of elaborate comedy.

Even so, the singular comedy of Tati can be found all over the Monty Python's gleeful slapstick and complex sight gags.

Expect lots of juvenile gags, bodily fluids, crummy slapstick and questionable «funnies» and «lookelikees» performing over-the-top parodies of their more famous counterparts.

No one believes Eric when he says he's seen a «monkey,» even as slapstick disasters begin to threaten the hotel's ranking — as you might imagine, a series of loud nothings erupts around badly - timed sight gags and head - slapper slapstick.

Plenty of screwball comedy, slapstick, sight gags, stupid word play, and overall silliness is all you will get for the 85 minutes duration, where nothing is serious, not even the end credits.

Though there are many weaknesses in the gags (the slapstick gets to be too difficult to believe at times, such as Morty being carried sideways in his sleep) and the characterizations are painted rather shallow (an uber - geek, a fat kid who loves food, etc.), there is an underlying sweetness to the delivery and kindness in its approach to the loner kids that is commendable.

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.

Among the Looney Tuniest of recent computer - animated features — the anatomy - distorting slapstick, wacky wordplay and surreal throwaway gags are nonstop.

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.

Rather than let the comic situations dictate the humor, the Farrelly brothers inject sight gags, fart jokes, sexual innuendo, and loads and loads of silly slapstick.

Lost in Paris returns slapstick and sight gags, now the fodder or annual Shrek imitators, back to the world of art, with the pratfalling misadventures of two caricatured romantics playing out like a musical.

I find most insulting of all about this gag - a-thon (not «gag» as in «hardy - har - har» slapstick... I mean more like the two - girls - one - cup kind) the fact that the MANY producers and directors could not make this thing work better with an ensemble like this.

But it's still a cut above the majority of family entertainment, and director Paul King, who got his start helming the surreal cult comedy series The Mighty Boosh, continues to prove himself a confident and comparatively sophisticated stylist, employing cutaway sets, Rube Goldberg slapstick, animated sequences in different styles, and loads of visual gags to create the film's dollhouse - storybook world; the aesthetic influence of Wes Anderson is especially pronounced in the scenes set at the prison, where an early mishap involving a red sock and the prison laundry dyes the convicts» uniforms a Grand Budapest Hotel shade of lavender pink.

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.

As crass as these visual gags are, they didn't offend me nearly as much as the apparent need for continuous slapstick in every scene, I suppose just to remind us that this is a comedy.

Gilliam and his co-screenwriters (an uncredited Charles Alverson (Jabberwocky), Charles McKeown and most famously, Tom Stoppard worked on it on and off over six years) stuff the film with subversive bon mots, furiously paced slapstick and sight gags, and the blackest of humour — it is at once thrilling and hilarious.

He brings visual poetry to slapstick with rhyming gags.

They fused the slapstick of the silent era with the outlandish sound effects of radio, focused on elaborate sight gags during an age of ceaseless dialogue, and were zealously committed to their Neanderthal worldview.

It's pure slapstick all the way (with one gag about the cabin's thermostat repeated over and over).

While the movie does have a handful of verbal puns, sight gags, and slapstick humor that fly, based on Carrey and Daniels» commitment, a number of gags fall to the floor, the opening catheter gag for instance.

Director David Zucker resorts to his trademark slapstick, silly skits and sight gags to poke fun unfairly at not merely Moore but a host of liberal causes, including global warming, nationalized healthcare and gay rights.

Indeed, the comedian's favoured director Larry Charles (TV's Curb Your Enthusiasm) returns, as does his uneasy combination of slapstick silliness, gross - out gags, juvenile jests, celebrity cameos and political parody, in a film that effortlessly resembles the unruly ridiculousness of his preceding pieces.

Gnomeo & Juliet desperately straddled that sloppy middle ground between loud, kid - friendly slapstick and winking at adults through instantly dated pop - culture gags and celebrity cameos, to perfectly average results.

With tired gags, not - too - clever slapstick, and assumed identities that never really pan out to inspired laughs, Greif tries to achieve the semblance of comedy through farcical pacing and progressively hammy acting.

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.

Like the Seller's movies, this script relies heavily on slapstick humor, with some of the gags coming straight out of the original films.