The absurdity of the situation put its pathos to the rout.
The Frightbot told a story so scary you couldn't help but laugh.
He was sobbing so hard that he began to hiccup.
David St. Hubbins: I think that the problem *may* have been that there was a "Stonehenge" monument on the stage that was in danger of being crushed by a dwarf. Alright? That tended to understate the hugeness of the object.
Ian Faith: I really think you're just making much too big a thing out of it.
Making a big thing out of it would have been a good idea.
— The members of Spinal Tap
, discussing one of their many in-universe experiences with the trope, This Is Spinal Tap
My arm... is numb. Numb arm... numb arm... narm NARM-
WHAT AM I FIGHTING FOOOOOOORRRRRARG?!
I should have been the one to fill your dark soul with LIIIIIIIIIGHT
Join me, Link, and I will make your face the grrrrrreatest in Koridai! Or else you will DIE.
You DARE bring LIGHT to my LAIR? YOU MUST DIE!!
THE KEYS, FOR GOD'S SAKE!
I, Garland, will knock you all down!
That was TOO close! You were almost a JILL SANDWICH!
Then its settled. Let
s have fun tonight because it is... IT'S PARTY TIME!
LOVE IS BREAKING MY HEEEEE-AAAAART!
— Love is Breaking My Heart by Grave Digger
NOOOO! MY LOVE!
Accept it! Accept it! ACCEPT IT!
WHAT is a MAN?!? A MISERABLE LITTLE PILE OF SECRETS! But enough talk, HAVE AT YOU!!
Holy cosmos, look at that thing! So, thats the dragon of the legends? My gosh! That
s one whopper of a lizard!
E'RYBODY BETRAY ME! I FED UP WIT DIS WHIRL!
I should not be laughing! This is a terrible situation! And yet... I find myself unable to resist... your influence!
— Jorgen Von Strangle
, in The Jimmy
Power Hour 2: When Nerds Collide after he blasts Jimmy and Timmy into a ditch.
The sublime and the ridiculous are often so nearly related, that it is difficult to class them separately. One step above the sublime, makes the ridiculous; and one step above the ridiculous, makes the sublime again.
— Thomas Paine, The Age of Reason, (1795)
Misjudging whether to go big or small is, dramatically, a huge problem. The entire tightrope of dramatic effectiveness hinges on getting the balance right. The line between pathos and bathos is razor thin, and tumbling off of it can be the difference between brilliant and a disaster that will be mocked for the ages.
I’m not surprised that Gillian Anderson
spoke her lines in a comical fashion, they are certainly written that way (all this ‘she’s been carrying on with the butcher!’ is pure Carry On
X-Files). Apparently Chris Carter had to remind her that this was a serious episode which I think is the biggest joke of all.
: I loved all of the commercial scenes, but that’s not because the show tried really hard to get the vibe of a Booster Gold informercial and reached an aspired-to level of cheesiness, it’s because the show is naturally at the level of craft
of a Booster Gold infomercial.
Arnold rips his throat out, turns to the camera and bellows, HERE'S SUB ZERO. NOW! PLAIN ZERO!!! I honestly can't conceive of a world where there's a more badass thing to say after killing someone named Sub Zero. We are so blessed to have Running Man
in our lives.
'I love the Power Glove,' he tells them, sounding almost fearful of the power he controls with it. 'It's so bad.' And the legend of The Wizard
is born. It's the dead seriousness of this line that really makes this scene immortal. This actor sells it like he's Hal Jordan
gifted with this godlike artifact of immeasurable power, something to be feared and respected. He gives it the same battle-hardened, post-orgiastic tone as the classic 'I love the smell of napalm in the morning' line from Apocalypse Now.
I personally love when [the film] tries to build up how badass Steven Seagal
is by saying something to the effect of You could drop him in the middle of Antartica with only his skivvies and he would show up at your pool the next day with a tan and a fistful of pesos.
That is just brilliant. This movie is simply hilarious and is funnier than most comedies out there today. You aren’t a movie fan until you are a Seagal connoisseur.
I've seen comedies with fewer laughs than Body of Evidence
, and this is a movie that isn'''t even trying to be funny.
And then, in the single most amazing moment of the film, he steps backwards onto an escalator that seems to appear out of f***ing nowhere and says 'Y’all be cool, now.
' ...I swear, it’s like they were in a meeting going 'What do super-heroes do after they do a good deed? They fly away, right?' 'Well, we don’t have the budget
for that. What if he just rode up an escalator instead?' It’s shot in the exact same style of the classic 'Superman flies away' scene, and there’s even a gust of wind as he goes up the escalator. It’s… I love it. Pure, unironic love. It’s the best.
and David Uzumeri on Steel
The Reunion is a 2011 action movie starring John Cena
...Netflix also labels this as a comedy, but any laughter is purely unintentional.
Of all people, Nguyen best sums up why Birdemic works
in the bonus features: When an audience member sarcastically asks why his film is so awesome, he responds with one word: Sincerity
, Dread Central's Birdemic: Shock and Terror DVD/Blu-Ray review
That's what makes The Wicker Man
so great: the giant abyss between what it wants to be and what it actually is. It's a horror movie with no scares, occurring entirely in broad daylight. It's a psychological thriller with no thrills, or psychology. When it goes for creepy, you just laugh, partially because Nic Cage's reactions are just as nonsensical as the movie itself. He's in the movie, but clearly doesn't know what the hell it's about... When he learns the cult is into selective breeding and ritual sacrifice, his response is a mild I don't GET you. I don't GET this place. When faced with unspeakable horror, Cage seemingly thought to himself, 'What would Chandler Bing
The catch phrase of the movie is Danger is real, fear is a choice.
This is a common theme throughout the entire film, though it appears the elder Smith
have unfortunately confused the concept of “fearless” with “emotionless
”. As Kitai makes his way across hazardous terrain, he maintains an audio link with his father, who delivers a series of the most monotone motivational speeches you will ever hear. Even during his son’s most horrifying encounters, Will Smith’s voice never wavers from an utterly lifeless tone, and this becomes unintentionally comical after a while.
When we judge a game like this, how do we do it? Do we judge simply on gameplay? If so, the repetitive combat and long drives around town may very well mark it as a mediocre title. Do we judge it on story quality? If so, then we have a game that makes no sense and frequently makes light of murder and sexual deviancy. I say a game needs to be judged by how often it made you happy, how much you laughed or became excited, and how long you spend thinking about it after it was finished. If we judge it by those standards, then Deadly Premonition
, my friends, is simply stunning. No other game has made me laugh so hard, laugh almost to the point of tears, laugh just by thinking about it. Deadly Premonition
may well be the first game reviewed almost purely for its comedic value, but for a game so funny, it has to be done.
Laughter is something that Demolition Man
is good at generating but, as you can probably guess, most of the funniest bits are supposed to be serious... It's incidents like when Wesley Snipes gets whacked twice with a TV set and barely suffers a bruise that make up the real humor.
gave Mary Jane cancer by tragically shooting her up repeatedly with his horrible radioactive Spider-Semen. His horrible radioactive Spider-Semen. That’s not tragic. That shit is fucking hilarious.
Every single girl moves around with a Boing
or two, no matter how serious the scene is. Just when you start getting into the dialogue, there it is: Boing.
Dracula seems to have abandoned his wife, Dolores, out of grief for their dead son, leaving her to grieve for Janus at his gravestone. It's actually a kind of sad scene, at least it would be if his gravestone didn't say Rest In Peaee
The comic's main villain, an old school dean who once expelled Chris for good reason, is, in the comic, an evil witch who uses a brain control ray to transform the inhabitants of CWCville into her slaves (read: mall guards). Chris explains to the audience that this ray only works on the slow-in-mind. Hilarity ensues when you realize this means that whenever Sonichu and friends fight Mary Lee's minions, they are actually beating through wave after wave of the mentally handicapped.
“Be brave like my mother. Otherwise, you disgrace her.” Oh, snap, that’s harsh—
“Otherwise, she died for nothing.” O SNAP NOW YOU’VE REALLY GOT HIM
“Otherwise, the bowl will remain empty, forever.” Aaaaaand you’ve oversold it. There was a Line of Bathos, and you crossed it. I know it’s a metaphorical fish, but sweetie, that fish ain’t comin’ back.
You would have to have a heart of stone to watch Rory laying down his own life to save Amy (for the sixteenth or seventeenth time) without giggling, at least a little