Sentences with phrase «than comedies like»

Not exact matches

Even Viacom (VIAB) has seen better than expected results, despite being embroiled in a power struggle between CEO Philippe Dauman and controlling shareholder Sumner Redstone — and despite criticism for its lackluster stable of fading brands like Nickelodeon and Comedy Central.

Kik offers richer engagement than you'd get on a broadcast - based platform like Facebook or Twitter — the comedy video website Funny or Die, for example, has had conversations with 1.5 million chatters on Kik, and users send an average of seven messages to a brand per chat.

The study revealed that less than 10 percent of adult viewing on Netflix was of its much - buzzed - about original series, like «House of Cards,» its political drama, and «Orange Is the New Black,» the dark comedy about prison.

Churches would rather do something safe like a barn dance or a pie - and - pea supper or another barn dance because the first one went so well, rather than risk something as socially volatile as a comedy night as part of their outreach.

More like a Tragedy than a Comedy because I'm not laughing.

Bitter by - election battles, gaffe - prone juniors, devious whips and one big game of «coalition chess» sounds more like the sober politics pages of a national broadsheet than a fun evening out, but first - time playwrights Robert Khan and Tom Salinsky remarkably manage to marry the two in their new political comedy, Coalition.

In the hours before bedtime, I often watch a little TV, but only comedies — I've found that high - stakes dramas and gory scenes from Game of Thrones stress me out and keep me up later than I'd like.

I did not have high expectations when I first watched Manhattan Love Story and I usually don't get into shows that are more comedies than dramas, but I am really liking this one.

The fact that someone likes jazz more than rock, or comedies more than documentaries, doesn't really tell you whether they're going to like you - or whether you're going to like them.

i love to exercise and stay as fit as i can.i like comedy and horror the most.i listen to almost all music other than metal and jazz.i have a nice penis thats what im told.

That would be impossible given that there are over 40 of them, and that the film is structured almost exactly like a»90s sketch - comedy show in which characters rarely share more than several minutes of screen time.

Generally speaking, comedies that stretch too much longer than an hour and a half end up feeling like they drag a little bit.

A sophisticated, suspenseful comedy of ill manners that seems much more like a Showtime or Netflix drama than a broadcast network offering.

Four siblings for a comedy like Our Idiot Brother doesn't get too much better than those four.

Mangold, a replacement for original director Darren Aronofsky, is new to the superhero genre, and hasn't directed a film since the disappointing 2010 action - comedy Knight and Day, but his approach to The Wolverine (it sounds more like a samurai film than anything else) suggests it should at least be an improvement over X-Men Origins: Wolverine.

More than anything, Blair is under the presumption that the semblance of utter randomness in the characters and developments will produce comedy (tidbits like «cat meat makes a person invisible», a deadly snake confrontation, and other such kooky events), and while occasionally diverting, wittier laughs are sparse.

Unfortunately, he decided to cram most of those narrative threads together in Wish I Was Here, a muddled comedy that feels more like a vanity project than a profound examination of upper - middle class family dynamics.

It takes more than just the right clothes and soundtrack to imbue a flick with genuine Eighties spirit: though the leads click charmingly, this feels exactly like a Noughties teen comedy in yuppie drag.

It is much more like a comedy film than an action movie, and the comedy isn't even funny.

Comedy troupe Broken Lizard returns with their fourth feature, which like its predecessors is funnier in concept than execution.

The spark is gone, and nowhere is that more apparent than in «Unfinished Business,» a so - called comedy that has been marketed as a bawdy, dudes - on - a-business-trip lark, but instead plays like a largely unfunny drama that snuffs out any vitality Vaughn might have possessed.

The odds: Given festival juries» general resistance to comedy (Cannes and the Oscars are similar in more respects than one might think) and a director few perceive as particularly ripe for the honor, «The Source» looks, on paper, like a long shot for the Palme.

They like rewarding predominantly comic actors for taking a darker dramatic turn, even if the degree of difficulty isn't notably higher than in their comedy work.

More than any other word, that tidily sums up Teller, who pinballs between beloved indies and big - budget fare like Fantastic Four and, this year alone, both a comedy opposite Jonah Hill (War Dogs) and an upcoming drama about PTSD (Thank You for Your Service).

Unlike most dumb comedies, Apatow has great affection for his characters, and we like them because he enjoys showcasing them, taking great care in developing them as more than just joke fodder.

It just dilutes the good stuff, like the presence of The Rock, Rhonda Rousey and Tony Jaa, any of whom we'd rather watch fight than hear another gravelly speech about «family» or endure Tyrese «s comedy - coward schtick.

A scene where Fred goes to a «Siblings Anonymous» meeting and he rubs elbows with the likes of Frank Stallone, Roger Clinton and Stephen Baldwin has the makings of a funny skit comedy, but they couldn't really find a funny angle other than the initial idea.

It was both from a practicality standpoint of the actual shooting and from the performers and everything that happens when a movie that's a little bit more run and gun like this one is, it ends up getting shaken during the production and the post ended up skewing more towards the comedy than even the original intent.

It sounded like a good idea for a unapologetic misogynistic - but charming - comedy, but the fractured storyline has many more lows than ups, the so called humour is as scarce as crass.

Williams turns in a terrific performance in this 1996 comedy, proving that his improvisational skills extend to reactions of a more subtle nature than the crazy riffs he displayed in films like «Aladdin,» «Good Morning Vietnam,» and «Mrs. Doubtfire.»

Prynoski and Walker find some strange insights on their race to the moral bottom with John and Elliot — a commentary that often acts more searing and urgent than it is — but like a developing TV comedy, Nerdland is often best in small patches.

For up close and personal drama it is pretty good comedy (better than Berry's Oscar acceptance speech) and there are other unconvincing moments like these.

The problem with a movie like Jonathan Lynn's 2000 noir comedy is that it rarely inspires more than cursory interest (its final box office tally was under $ 60 million - solid numbers, but far from blockbuster level).

And like those previous movies mentioned this really is more of a dramady then a striahgt comedy or drama, but alot lighter than the other movies.

It plays out far more like the future television series «Barney Miller» than it does MASH, except that the creators of the mid-70s sitcom at least had the insight to make it primarily a comedy with occasional bits of drama, instead of cramming both together in nearly every scene.

While Ted 2 never reaches the turgid lows of A Million Ways to Die in the West, the writer / director's misguided western spoof from last year, it also demonstrates yet again that his brand of comedy is far more suited for the half - hour television format of his series like Family Guy and American Dad than it is for a two - hour picture that requires more narrative heft and character development.

Like Headhunters, which was also based on a Jo Nesbo story, this Norwegian thriller almost plays more like a black comedy than an action moLike Headhunters, which was also based on a Jo Nesbo story, this Norwegian thriller almost plays more like a black comedy than an action molike a black comedy than an action movie.

There is no smarter director of wry and human comedy than Alexander Payne, whose filmography includes gems like Election, Nebraska, About Schmidt and Oscar - winning scripts like Sideways and The Descendants.

Occasionally, Altman tested himself by adhering to a genre closely without detonating it, embracing convention as a way of reverse engineering his usually «free» style, which, like jazz or improvisational comedy, requires more preparation and structure than is generally understood.

Still, a comedy like this could have and should have been better than what ended up on screen.

Though it grossed more per theater on opening day than everything but the three big aforementioned wide release attractions, the movie could not become the mainstream draw envisioned, like past Rogen - Goldberg comedies had been.

Thanks to the vagaries of Netflix's recommendation algorithm, it doesn't take more than a few steps to go from family - friendly kiddie pabulum like The Smurfs 2 to a left - field oddity like The Trotsky, a 2009 Canadian comedy that re-imagines Rushmore as a tongue - in - cheek Marxist crowd - pleaser.

The Hollywood Reporter said last month that, as they have in the past with «Crazy Heart» and «Hitchcock,» the studio might try the so - called «sneak attack» with one of their slate, and «Belle» seems like a much more natural fit for that than the studio's other potential: Jude Law crime comedy «Dom Hemingway» (also at TIFF, but not obviously Oscar material unless it's transcendently good) and Wes Anderson «s «Grand Budapest Hotel» (which we're assuming will be held for Cannes, or at least a «Moonrise Kingdom «- style summer release).

However, because the movie never reveals a true point, it feels like this is little more than observational comedy, rather than a film dissecting cinema.

As discussed above, The Interview looks more like an espionage thriller than a comedy with its dark, contrasty visuals.

Also at the festival are under - the - radar pictures like the Clive Owen / Juliette Binoche film «Words And Pictures,» Andre 3000 - starring Jimi Hendrix biopic «All Is By My Side,» comedy - drama «You Are Here,» the feature debut of «Mad Men» creator Matthew Wiener, Biafra war film «Half Of A Yellow Sun» with Chiwetel Ejiofor, the James Corden - starring «One Chance» (which has the Weinstein Company «s backing, but seems more «Unfinished Song» than «Silver Linings Playbook «-RRB- and, perhaps most importantly, Stephen Frears ««Philomena,» which could see Judi Dench being in contention.

It's only when you realize that this build up doesn't really go anywhere that it begins to become uninteresting, until it finally gets down to the climax, when everything falls completely apart with a laughably executed revelation scene that feels like it belongs more in a comedy than in a serious thriller.

«Magic in the Moonlight» doesn't make you believe in magic, or love, or anything, really, although maybe that's just the cynic in me, eager to expose the film as the fraud that it is, because the whole thing feels less like a genuine Woody Allen comedy (smart and funny with a healthy dash of neurosis) than a pale imitation.

The only life lesson we took away from Judd Apatow's romantic comedy — other than a schlubby stoner like Seth Rogen will, in fact, be an awesome father to your baby — is to never, ever go see Cirque du Soleil after eating a bunch of mushrooms.

What looks like a rather standard buddy action comedy is elevated by a smarter - than - normal script, skilful direction and surprisingly offhanded chemistry between Washington and Wahlberg.