Sentences with phrase «visual jokes for»

It's distinctive, with rich colors and a vast wealth of detail, including visual jokes for the sharp - eyed.

Not exact matches

A dinosaur - sized mallard brings the opportunity for both — a neat visual joke about perspective, followed by endless foul and duck confusion.

(Oddly, one joke that is given time to breathe — and one of the film's few visual gags — is the bit featured in the trailer where Barinholz gets Poehler's music box stuck up his butt; it works better in the movie than in the trailer, but it's still a juvenile choice for a centerpiece.)

Kids could ooh and ahh at the visual tricks, while adults could laugh at jokes that weren't dumbed - down for them.

It's essentially «Miss Congeniality» in the dog show world, with cheesy visual effects, hackneyed gross - out gags for the kids and lame jokes for the adults in the -LSB-...]

It has zippy energy, visual imagination, inspired puns and all the fart jokes, booger gags and vomit spews a 13 - year - old could ask for, yet it's grounded in a harmless innocence.

For the adults, there are quips about teachers» salaries, druggy visuals of kids smacked out on sugar, and a priceless joke about supermodels having as much humour as a chair.

On Blu - ray and DVD with two commentary tracks (one from director Paul Feig and co-writer Katie Dippold, the other featuring editor Brent White, producer Jessie Henderson, production designer Jeff Sage, visual effects supervisor Pete Travers, and special effects supervisor Mark Hawker), the featurettes «Meet the Team,» «Visual Effects: 30 Years Later,» and «Slime Time,» and «Jokes a Plenty: Free For All,» and a collection of alternate improvisational takes (what was called «Line - o-rama» in Judd Apatow disc relevisual effects supervisor Pete Travers, and special effects supervisor Mark Hawker), the featurettes «Meet the Team,» «Visual Effects: 30 Years Later,» and «Slime Time,» and «Jokes a Plenty: Free For All,» and a collection of alternate improvisational takes (what was called «Line - o-rama» in Judd Apatow disc releVisual Effects: 30 Years Later,» and «Slime Time,» and «Jokes a Plenty: Free For All,» and a collection of alternate improvisational takes (what was called «Line - o-rama» in Judd Apatow disc releases).

As well, the highly detailed visual backgrounds will be sure to keep audiences busily searching the DVD release for more inside jokes.

You can, believe it or not, see some of Leitch's affinity for the silent classics in Deadpool 2, a movie that often blends action and comedy with visual wit and efficiency, offering an unexpected new angle to a sequel that returns with the expected load of R - rated snark and in - jokes for movie buffs (Celine Dion sings over the opening sequence, which invokes everything from Bond movies to Flashdance.)

Hugh also joked about his ripped abs featured in the film, saying «I keep thinking, «Come on, you spend millions on CGI, can't you throw a quarter million my way for visual effects so I can eat pizza and drink beer and still look great?»

The cast's quaint jokes and Roger Michell's pretty visuals, though, never quite compensate for the disjointed script.

What was most remarkable for me re-watching the film with the commentary track going and the dialogue muted was how some of the jokes still worked with just the reaction shots and the subtlety of some of the visual.

A highly quotable, visual treat that's packed with in - jokes but is entertaining enough on its own terms to work for fans and non-fans alike.

Your next challenge, then, is to make your content more engaging, and there are many tools you can use for this purpose, including but not limited to: storytelling (weave your compliance content into a series of narratives), video (we are visual creatures), humor (throw in some jokes), and interactivity.

I can put in some little background details that might be a surprise for the second or third reading, or visual jokes / surprises that happen across the page turn.

The auction draws its title from one of the highlights of the auction, Richard Prince's monochrome joke painting If I die..., as a tribute to the artist whose visual vocabulary was transformative for an entire generation.

Known mostly for his sculptures, his tongue - in - cheek works also include photography and performance, all of which hit like visual one liners — provocative jokes that blur our perceptions of truth and reality.

Ranging from thick paint to airbrush, from Color Field abstraction to a joking (possibly Hairy Who) representation, she forces everything into carefully orchestrated collisions, taking considerable joy in celebrating her medium's potential for visual artifice.

House has in fact already entered the everyday visual currency that shapes the way we see the world, just as much as the famous Carl Andre bricks, or Boy George or Punk - all once the subject of horrified outrage, and all quickly co-opted into mainstream sensibility, to be recycled as knowing, sly jokes, to appear as the inspiration for the imagery of advertising, to be used as seasonings to the blandness of everyday life.

For this reason, his image — obsessively recurrent and ambiguously ironic — is primarily a reproduction of what occurs in reality but on top of that, it is also an illusionary joke, articulated through a visual language characterized by utter simplicity of enunciation and stylistic immediacy.