Sentences with phrase «than the comedy scene»

Who else could kick off this list other than the comedy scene's ultimate weed enthusiasts, Richard «Cheech» Marin and Tommy Chong.

Not exact matches

Straying from the standard, modern superhero formula it helped to pioneer in 2002, Homecoming is more teen comedy than it is a «good vs. evil» tale, highlighting a distinctive setting in Queens as the battleground for crushes, parties and yes, actual super villains — this one played by Michael Keaton in a scene - stealing performance.

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.

Based on this one scene in a popular movie from more than 30 years ago — and an Eddie Murphy comedy at that — the urban legend has perpetuated that beef somehow blocks up your intestines, colon... you name it.

Spacey's always had a knack for dark comedy, and he steals every scene he's in - and it's no surprise than when the premise is twisted in the last third, he's the boss the whole plot ends up revolving around.

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.

Aside from the well - noted fact that more superior long - form drama (and comedy) can be found on television than in cinemas, the two most interesting motion picture experiences I had in 2012 were in galleries: The Clock (Christian Marclay, 2010), a staggering and hypnotic achievement of which I still have some of its 24 hours to catch up with, and two multi-screen installations by Candice Breitz: «Him» and «Her» in which many scenes from the films of Jack Nicholson (in Him) and Meryl Streep (in Her), isolate the actors from their filmic background leaving the actors to speak to and interrogate each other across space and time on many themes of character, identity, success, failure, anger and disappointment.

His skill at physical comedy is evident in these scenes, and allows his character to be far more accessible to the audience than that of Louise.

With more than six minutes of never - before - seen footage woven back into the film and an additional 24 minutes of deleted scenes, alternate endings and a retrospective documentary featuring the cast of the film, Dumb and Dumber: Unrated is a must own for every comedy fan!

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.

Ant - Man, on the other hand, was more than just a comedy movie, it was a heist film that managed to surprise audiences with its unique action scenes (thanks to the shrinking capabilities of the film's main hero and villain).

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.

When Eddie Murphy (Beverly Hills Cop, Trading Places) became available, the project changed from a spiritual adventure film to an action - comedy, with each scene reconstructed in order to play more for laughs than for drama or awe.

What this classic comedy lacks in steamy scenes it more than makes up for in sharp wit.

I'm sure that the excursion - to - a-Coney-Island-day-at-the-beach scenes in the 1941 comedy «The Devil And Miss Jones» or the 1959 «Imitation of Life,» as Hollywoodized as they were, presented more realistic versions of such excursions than this movie does — I mean, Coney Island is / was a lot of things, but lyrical is not one of them.

Anyone else, unfortunately, will have to watch one of the dozen or more better films this one rips off, including the goofy Michael J. Fox comedy, «The Secret of My Success,» which contains more corporate intrigue in any given scene than in one hour and 40 minutes of Paranoia.

The gags in its immediately iconic nude scene, for instance, are built on self - consciousness rather than titillation — which, in around 110 years of comedy on film, makes it more or less unique.

The scene is stronger on comedy than on realism, but Cagney and McHugh give an authentic inflection to a warm, tenuous, abruptly renewed relationship.

The comedy in this one scene is hardly indicative of tone of the film as a whole, as it leans further on slapstick than the natural give and take charm of its actors.

I was more than happy to enjoy the film on a scene - by - scene basis and lose myself in the weirdness, comedy and sometimes darkness of every moment.

A few scenes here and there do feel a bit longer than necessary, and the movie does constantly come back to various jokes about George Michael and other things to the point where it's beating a dead horse, but chances are you will still be laughing, and that's of the utmost importance for a comedy.

A romantic comedy, yes, but the film had a lot more to it than just the main genre it fit into; the soundtrack was fun and complemented the scenes well, as well as the fundamental social issues addressed in modernized and traditional South Africa.

While it is mostly a comedy, there are several scenes of drama mixed in that are expertly handled, with Tenney and Gugino showing that they can do more than cutesy roles when given the chance.

Any comedy with such high notes more than earns its rights for knowingly contrived scenes and a bit of sloppiness from time to time.

You understand the routine of the comedy, how each scene sets up the jokes and it comes across as strangely scripted and calculated, rather than a non-stop rollercoaster of laughs.

So in telling the tale of Hilly Krystal, the club's unlikely founder played here by Alan Rickman, director Randall Miller («Bottle Shock») could do worse than render the early -»70s punk scene as breezy broad comedy.

The movie features a bevy of hot young actresses, a streak of black comedy and more than a few grisly death scenes that almost make up for the fact that the film's very existence is completely unnecessary.

Some of the jokes are just plain unsettling (there's a running joke about «child molesterers» — not a typo — that comes across as more unpleasant than amusing), but for every awkward and squirmy wisecrack there's a comedy goldmine (the cameo by Waititi as a local preacher is one of the funniest scenes in years).

«Mike and Dave» isn't a special comedy due to the formula and some scenes that are more drawn out than a Judd Apatow movie, but it's still a good date movie or a hangout movie.

This remains one of the most enjoyable comedies of all time, with great scenes like Colbert using her shapely legs rather than her thumb to catch a ride, Gable destroying undershirt sales by not wearing one, and a busload of people singing «The Man on the Flying Trapeze.»

Thankfully, there are more than enough examples of this kind of gory comedy to keep Deadpool 2 comfortably in the successful column, right down to the closing credits scenes that sit amongst the movie's funniest moments.

While not doubled over in laughter (or dry heaves), I found myself snickering through many scenes, and in comparison to other comedies out there, that's better than most.

This Mad Men — like ambition — to explore the professional conflicts of a group of highly creative people, the sweeping changes in society they're reflecting and responding to, and the conflicted genius suffering from imposter syndrome at its center — might have been better fit for the length of a series, and indeed series like Showtime's I'm Dying Up Here and HBO's classic The Larry Sanders Show convey the combination of internal competitiveness and group cohesion that powers comedy scenes like the Lampooners» more effectively than AFASG's scattershot approach.

With «Bridesmaids» setting the scene for this summer's adult - themed comedies, Phillips» latest could have proved to be a one - two punch for those seeking something spicier than the PG - 13 dribble shoveled into theaters on a biweekly basis.

Early indications seem to point to more of a comedy than the true action epic that fans were hoping for, but with Li and Chan together onscreen, there's bound to be at least one great fight scene, right?

With that in mind, there may be no better string of scenes across the show's two season, and perhaps in any half - hour comedy this year, than the ones that make up the first half of «Venetian Nights.»

The characters behave realistically, which allows the tension and eventual miscommunication scene play out far less contrived than the usual romantic comedy.

The film «Äôs passionate final scenes leave you with the immediate realization that there is much more at play here than simply a sharp romantic comedy.

It plays more like a dark - comedy than a horror flick simply because despite the random disturbing scenes thrown in here and there, they never really get under your skin the way you hope a horror film will.

Because Swanberg's work and style is often more dramatic comedy than strict comedy, there is a powerful sense of raw emotion that undercuts many of the show's scenes.

Director Lawrence Sher, making his feature debut after a career as a cinematographer, brings the skills he established shooting movies for Todd Phillips (including the Hangover trilogy, with Helms), which is to say he uses better lighting and more textured visuals than a typically overlit studio comedy while still neglecting to frame, cut, or pace scenes for actual laughs.

In the midst of all of the crazy comedy, Wright finds room for a few sobering details: A scene in which Gary chooses to batter his head against a wall rather than revealing some hidden scars is emotionally devastating even as it nods cheerfully to midnight - movie classics like The Thing and Invasion of the Body Snatchers.

Less a spoof of vampire flicks than a fish - out - of - water romantic comedy about a Victorian nobleman trying to negotiate the dating scene of Studio 54 - era Manhattan, this enjoyably silly film is no one's idea of great cinema, but writer Robert Kaufman's concept of a vampire being the standard bearer for old - style morality and romance is an inherently funny conceit helped immensely by a straight - faced lead performance by Hamilton.

scenes may have done more to harm comedy than anything else in the last twenty years), and there's even a sweet old grandma who does inappropriate things.

With that said, however, it's also hard to deny the inherent accuracy of such a statement, given that it's a series that takes place behind the scenes of a television program, except rather than sports or comedy, the predominant thrust of the program is politics.

But not only is the game ultimately darker than a lot of games that try to be dark, but one of the first rules of good comedy is to commit to the scene.