Posts Tagged ‘comedy’

Penn and Teller Get Killed

Penn and Teller Get Killed

Monday, August 9th, 2010

I guess I was on a roll with “movies I’d intended to watch for ages” by the time I got to this one, lol. I was kinda crazy for Penn and Teller when I was a teenager and they were first becoming popular on UK television. I even bought their book, I seem to recall, but then they seemed to vanish for years until their recent newfound popularity with the “Bullsh*t” series and now back to doing stage magic around the world.

The reviews I’d read for this were overall so-so, even those coming from apparent fellow fans of the duo, and despite there being a decent director at the helm (Arthur Penn, of Alice’s Restaurant, Bonnie and Clyde, and The Miracle Worker, albethey years before this) I guess this is why I’d passed on it for so long (in addition to its being widely unavailable outside of pricey imports).

So to the movie, and I have to start with the brilliant tagline (as seen on this poster)… “What more do you want?” with which I couldn’t agree more. This movie within minutes took me back to my excitement as a teenager whenever these guys were on TV. It opens with them on a late night talk show doing their “upside down” gravity-defying table trick, after which Penn idly comments to the host that he wishes someone were trying to kill him. In the scenes that follow it is entertainingly set up that Penn and Teller are fond of pranking one another (and not just small pranks either; early in the game Teller sets Penn up at airport security getting through the metal scanner). The stakes get higher as the movie progresses, the pranks escalating to the point where the line between fake and real begins to blur, and, without trying to spoil anything too much, let’s just say this movie really does deliver what it promises, lol.

The final scenes had me laughing so much, actually out of shock I think more than anything, that I really couldn’t believe my eyes when I read so many disappointed opinions on the IMDb message board and comments. As the tagline suggests, I really don’t know what more anybody could expect from a Penn and Teller movie. It’s brisk at 90 minutes, it has a few magic tricks, a lot of fake blood, a healthy lesson in skepticism, and finally an all-out f**k you in its finale. It really is worth checking out.



Cop Out

Cop Out

Thursday, August 5th, 2010

“Paul, did you just punch a little child?”
“There’s things you don’t know about me, Jim, I’ll fuck a little kid up if he kick me in the dick!”

I seem to be a strange Kevin Smith fan, though perhaps in fact that’s the norm. Like the bulk of his fans, I love his most early and iconic work, the Jersey trilogy of Clerks., Mallrats, Chasing Amy and from there the other of his works set in the “View Askewniverse” – Dogma, to a lesser extent Jay & Silent Bob Strike Back (meh, it’s fun), and most recently the surprisingly brilliant Clerks II. And I’m among the very few who actually think Jersey Girl was one of his best – a genuinely moving homage to John Hughes with some of the best performances he’s had in any of his films.

Where I get strange is: I really felt like he dropped the ball when it came to Zack & Miri Make a Porno …stepping on the heels of the Apatows that came before and producing something that, while it had its moments, felt distinctly un-Smith-like. At the same time, however, I’ve found myself enjoying the heck out of the even more culturally insignificant SModcast that he produces… and even all the spin-offs thereof (Tell ‘Em Steve-Dave, Mo & Glo, and Highlands: A Peephole History).

That long intro isn’t just to pad this review. It’s kind of there to clarify just how odd it was, then, that when I heard about Cop Out – the first movie Smith has directed that he didn’t write – my expectations weren’t entirely shot to pieces. At the risk of sounding like the kind of fanboy I really dislike… the more you appreciate Smith’s recent attitude and philosophy toward life that comes over in its purest form in his podcasts and tweets, the less inclined you’ll be to pick this movie apart for the relative waste of time it really is.

For me, it’s far from the great nod to old 80s actioners that I hoped for (the great Harold Faltermeyer of Top Gun and Beverley Hills Cop even does the score), but it still made me laugh a heck of a lot (Scott taunting Morgan in the car, Essman abbreviating her language in front of her son while waving a gun around, then cussing the heck out of the following scene; the aforementioned son’s altercation with Morgan that ends in the line I quoted above…), even when I watched it a second time to refresh my memory before writing this.

I’m told the Blu-ray’s “Maximum Comedy Mode” makes the movie an even more enjoyable experience, and I’ll be very tempted to get the disc just for that. I loved seeing Michelle Trachtenberg as Willis’ daughter and Jason Lee as the stepfather rivalling for her admiration, and there are nice little casting surprises elsewhere in the movie like Kevin Pollak, Seann William Scott and Curb Your Enthusiasm’s Susie Essman (being, as there, wonderfully shouty).

This is by no means to say the movie’s great. Kevin Smith is capable of far more than this and while it can be argued that maybe he’s simply peaked and has the right to enjoy making a simple movie like this, I simply don’t believe it. I hope either Red State or Hit Somebody (which he says will be his “greatest movie” and possibly last) outdo everything we’ve seen from him so far. But I can’t be too down on him… SModcast alone has given me hours of laughs over the last year or two, and in those Askewniverse films I genuinely believe he has probably already done quite enough.



Hot Tub Time Machine

Hot Tub Time Machine

Tuesday, July 20th, 2010

Mark Kermode has said a few times of this on his weekly podcast that it’s “not as funny as the title”, and frankly, I still don’t find the title even remotely funny, so aside from the fact that I always love John Cusack in anything (yes, even High Fidelity), I really didn’t expect much from this movie. I certainly didn’t expect to find that, actually, the only bad thing about the movie is the title, lol.

This is essentially Back to the Future meets Superbad, in the best way possible. On the time travel front, I’m not exaggerating when I say this is among the best of the genre, doing pretty much everything right in my opinion in addition to doing just a few things a little different. On the gross-out guy comedy front, I was careful to select Superbad in the earlier equation, because that was one of the few comedies of its kind over the past few years (and from the Apatow stable to boot) that I actually enjoyed because it actually had marginally endearing characters. I think I saw the “Unrated” edition of the movie so I can’t tell you exactly which parts but to say, this definitely goes “too far” in places but – and again it’s hard to really explain so you just have to trust my judgment – it’s done in a way that’s actually funny.

For example – I’m sure this is in any cut of the movie as it’s a huge part of the plot – one of the heroes decides to call his (in the present) ex-wife when they are back in 1986. She’s 9. He yells at her like it’s “today”, potty words and all, and it cuts to her astonished little face in bed. Later, we get the following killer exchange when this guy is having sex with another girl (the gang having decided to just enjoy themselves in the past):

Guy: [crying] “Courtney!”
Girl: “Tara!”
Guy: [more intense] “Courtney!”
Girl: [slows] “Seriously, it’s Tara.”
Guy: “Naw, my wife.”
Girl: [stops] “You’re married?”
Guy: “No… I mean, not yet. She’s 9 right now…”

That’s probably a decent benchmark as to whether you’ll like the movie as much as I did lol… if that kind of thing is funny to you, you’ll be fine. But it’s really not all dumb/dangerous gags like this… like I said, and what surprised me most about the movie, is that it actually has just as much heart in the end as the very best of the time travel genre.

There is a wonderful character in the form of Lizzy Caplan (who I loved in 2004’s Mean Girls but I admit didn’t even recognise here). It’s what I’d call a kind of Zooey Deschanel character. She kinda “gets” that something odd is going on the minute she lays eyes on John Cusack (she’s native to 1986, the year to which they’re transported) and she runs with it almost like it’s an every day occurence. The quirky romance that blossoms between her and John Cusack is as cute to me as any love story Cusack has been involved with.

There’s a lot more to be said about this movie but I feel like I’ve lost my way in this review and I’m way behind. I will only add a little something about Chevy Chase’s part in the movie. He essentially plays the mystical old man you find in a lot of stories like this – the guy with the remote in Pleasantville, or the truck driver in Small Soldiers, come to mind – and he’s written very tongue in cheek. The thing is, he’s seriously funny, almost brilliant, and considering I thought Chase had pretty much gone away, this was a seriously pleasant surprise and just one more reason to recommend the movie. I feel confident in saying no matter what you’re expecting of this movie, you will probably be just as surprised as I was.



Dude, Where’s My Car?

Dude, Where’s My Car?

Saturday, July 17th, 2010

So, umm, I have to begin this review by saying, go me! ‘Cos it seems I actually managed to block this movie out so successfully for an entire 10 YEARS, so well that I came to it at last knowing so little about the actual plot that when the alien stuff started, I genuinely thought I might still be dreaming from the night before…

The most important thing for me to say in this review is that it was a lot better than I expected, and I think the distance may have a lot to do with it. This movie has kind of been (at least in my mind) cornered as “the one that started it all”, the dumbing down of movies etc… but the fact is, compared to more recent stuff, this one actually almost has charm, and I’m surprised that the alien aspect of the story has been so downplayed that, as I said, I really didn’t know about it at all before watching.

The whole thing had been done before and better by the likes of Beavis & Butthead, Bill & Ted, Wayne’s World, and even after in the form of Jay & Silent Bob… but really and truly, this is not a bad movie at all.



Up in the Air

Up in the Air

Wednesday, January 6th, 2010

Well I didn’t see this coming… when I heard this being talked about in connection with Oscar Buzz, a movie directed by Juno‘s Jason Reitman (don’t get me wrong, I liked it, but it was overrated*) and starring George Clooney who I always feel can only play himself, I cringed. It seemed this was soon to be the movie that ruined an otherwise good-looking Oscar season and ceremony Slumdog style. It was only when Malcolm Ingram, of whom I only really know of via Kevin Smith’s podcast, tweeted, “I’ll be damned if @jasonreitman didn’t channel Hal Ashby for his new flick UP IN THE AIR…” that my interest really perked up about it. I still started the movie fearing the worst…

Again, I’m not sure where to start (and if I get around to filling in the missing reviews from the end of last year through repeat viewings, you’ll hear that a lot over this season’s Oscar movies)… maybe at the end. At this very moment, even though I’ve still a few potential contenders to see, I’m fairly stunned to find myself thinking this may be the movie I find myself rooting for come March 7th. If nothing else, it ranks alongside Moon and An Education as one of the most intelligent movies I’ve seen of the past year. But on top of that, it has heart that comes from nowhere, on at least two occasions near crippling humour, and a way of capturing the world as it is right now, “our time” and all that (I usually hate that too!), in a manner that I can only compare to Cameron Crowe’s (who I have frequently compared to the aforementioned Ashby) take on the dying gasps of the 60s in Almost Famous. Ingram wasn’t wrong, Reitman has taken leaps here from Juno and if the movie doesn’t sweep all the major categories then I hope he at least benefits from a rare Picture/Director split. If you know how overrated I have on occasion felt Juno was, you’ll know how hard it is for me to say that.

What’s funny is the movie doesn’t immediately fill you with this sense of appreciation. When we first meet Clooney and the woman he falls in love with, played by Vera Farmiga (good, but not as intense as in Orphan), they’re exactly that kind of character that makes you think after about 5 minutes … “ … and why should we care about these people?” They’re rich, fairly obnoxious, hollow people travelling the world and staying in swanky hotels making a living off firing people. Pure loathesome. What’s amazing is how quickly the movie wins you over to them and holds interest over nearly 2 hours approaching the most human, emotional resolutions I have seen in film in the past year. Avatar may be an achievement, Tarantino overdue, and The Hurt Locker one of the greatest war movies of all time, and they’re all among my favourites of last year, make no mistake… but I think this movie, against all the odds given the protagonists, speaks for more people than all those put together in the Right Now, including, to my astonishment, me. If you knew how much I expected, and for a time wanted, to loathe this movie, you’d know how stunned I am to be saying all this.

*Yep, I loved this one so much, however, that I’ll be revisiting Juno and Thank You For Smoking and anything else Reitman has done so don’t call me on that in the comments …



In the Loop

In the Loop

Tuesday, November 17th, 2009

I watched this after a large catch-up session watching all of the “Thick of It” episodes that had aired before the release of this spin-off movie and I’m not really sure whether it helped by setting me up with the world and style or just hindered by sheer overexposure to it in such a short time. In any case, I didn’t feel the time was entirely wasted. I found myself towards the end of the TV episodes I watched rather unfavourably comparing it to The Office in my mind and I still feel as a whole it is “good” rather than “great” … though that could be that I’m just not interested enough in politics, even if I am far more interested than I was when I first passed on watching the show.

On the “Thick of It” side of things, I have to say I preferred it in TV form. A whole other side of the story is presented in the movie in the shape of America and it’s too much of a leap, while the shooting style remains the same and I found myself thinking how I couldn’t imagine going to the cinema to see something like this. It’s entirely uncinematic, almost anti-cinematic, and I felt compelled before writing this to dig up Mark Kermode’s review and was surprised to find he liked it.

However, there was one unexpected surprise waiting for me here and again I can’t quite decide whether it helped or hindered my appreciation of the film. I had no idea Anna Chlumsky (of My Girl fame) was in this movie, and frankly she steals the movie entirely. I was pretty sure of her impressively honed acting skills in Blood Car but her performance here seals it for me, she has officially survived “the child star thing”, and the double whammy of those two movies shows just how interesting her choices an an actress are going to be. As for “The Thick of It” side of things … I look forward to getting back to the third series of the TV version.



Land of the Lost

Land of the Lost

Monday, September 7th, 2009

So, yeh, sue me but I got more out of watching this than I did watching Half-Blood Prince. I had read so many bad reviews of it shortly before watching it and they almost had me convinced, but I kept seeing Brad Silberling’s name on the director’s chair and I just couldn’t believe he could make a less than half-decent movie ‘cos he never has. I shouldn’t have doubted it for a second. Silberling has done two kinds of movies in his career so far, kind of alternating between the effects-driven kids movies like Casper, Lemony Snicket and this, and the more mature stories dealing with more mature relationships, which have steadily gone down in scale over the years from City of Angels to Moonlight Mile to his most recent 10 Items of Less. It’s interesting that the first two of the effects-driven movies, too, dealt with pretty powerful emotional stuff too, all of Silberling’s work, until 10 Items at least, always dealing heavily with loss. Needless to say, I expected none of that here, but I knew he wouldn’t just make an effects movie.

Okay, well, I’ll admit, that’s exactly what he has made here. But this guy really knows how to do that and stay interesting in my opinion. Even though surely shot on the usual Hollywood bankroll, the effects here reminded me of the fast and loose style Robert Rodriguez stumbled upon in making the first two Spy Kids movies on trademark tight budget. They’re having fun with this and it translates right onto the film, through the projector and into the audience: at least, for this audience it did. I laughed almost constantly for the duration and entirely “got” the slightly sillier aspects of the production. Anna Friel being allowed (in fact, apparently Silberling insisted) to keep her Mancunian accent is a wonderful bonus.



Le Dîner de Cons

Le Dîner de Cons

Wednesday, May 20th, 2009

I’m going to try and watch as much French cinema for the next week or so before a short and long overdue trip to Paris, mostly pulled from the recommendations of a fantastic podcast I found on iTunes called FrenchPodClass (seems not to have been updated in almost a year but there’s still plenty of free downloadable content). This was the first recommendation and appealed to me in particular as it’s only just over 75 minutes in length.

Well, I don’t think I’ve laughed so hard in a long time. This is a true comedy, truly simple, almost entirely set in one room and never actually getting to the dinner mentioned in its title (well, metaphorically notwithstanding). It reminded me of a play by John Godber I once saw (and, by connection I guess, just about all those class war plays) except that as opposed to wealth and status being the great divide here, the French version seems to be the war of intellects (of course, wealth and status come into this too). If you’ve read more than a handful of my reviews you might already know that I don’t usually go for pure comedy, nor do I often like movies about characters so mean as some of the protagonists here, but I guess for this I must make an exception. Though this does take a fairly melodramatic turn in the last act and I liked this part very much, I was still hoping that it was leading up to one final gutbusting gag, and I wasn’t let down. The movie, like those Northern British plays of old, has a very serious point to make on one level, but it’s also incredibly entertaining about it. I don’t know if it’s a movie I’d watch over and over, it really gives you its all in one sitting; but I’m very happy I took the short time required to see it. Highly recommended even if you never watched a foreign film before.