Comedy

Promotion, The

dir: Steven Conrad
[img_assist|nid=113|title=Dorks just trying to dork their way up the corporate ladder|desc=|link=none|align=right|width=476|height=317]
What are our dreams? I don’t just mean what do we dream of, because most of us dream of flying, or exacting revenge on our childhood tormentors, or giving speeches naked in front of our co-workers and fellow students. And let’s leave out all the sex-related dreams regarding 80s sitcom stars or bus drivers. Please, let’s just leave them out.

Most of us, not being the super-creative and talented people whose works we crave in written, visual or auditory form as entertainment, have modest hopes and dreams. We dream of having jobs that don’t crush our souls on a daily basis. We might dream of owning, past a certain age, our own homes so we’re no longer at the mercy of deranged housemates, too-thin walls separating us from annoying neighbours and independence from the whims of landlords and slimy real estate agents.

We dream of being able to do okay and avoid looking like shmucks, at least those of us that aren’t shmucks. And even those of us who are shmucks dream of somehow getting that one thing (or several things) that’ll make everything seem a bit more worthwhile, in our eyes and in the eyes of others.

Rating: 
7 stars

Burn After Reading

dir: Coens
[img_assist|nid=72|title=Oh, you quality actor, you|desc=|link=none|align=right|width=300|height=300]
People give the Coen Brothers way too much credit. Sure they make good films on the odd occasion, but, after dazzling everyone with the exhausting and nihilistic No Country for Old Men, they belched out this Washington DC-based trifle, and still people acted like it was the second coming of Allah, Buddha and Abbott and Costello.

There are Coen Brothers comedies that I have enjoyed, especially Raising Arizona and The Big Lebowski, but this is certainly not one of them. In fact, I find it pretty much devoid of humour for something being marketed as a comedy.

I had similar issues with Fargo back in the day, which was lauded to the high heavens by all and sundry, but left me cold, colder than a Minnesotan winter. The humour was invisible to me, the purpose as well, though I have gotten to a better place emotionally where I don’t actively hate the film anymore.

Still don’t like it, though. And I definitely didn’t like Burn After Reading either, which has practically nothing to recommend it. Honestly, this is one of those times where I am oblivious as to what worth others see in something. Had the Coens not made it, had the cast not be the usual A-List shmucks like Clooney and Pitt, this flick would not have even gone straight to DVD.

Rating: 
4 stars

Harold and Kumar Escape from Guantanamo Bay

dirs: Jon Hurwitz & Hayden Schlossberg
[img_assist|nid=98|title=Harold and Kumar in Search of Humour|desc=|link=none|align=right|width=300|height=354]
Wow, even with two directors this flick is still pretty dumb and unfunny. Maybe it needed some more directors. Maybe five directors would have been the magic number.

It couldn’t have hurt. Such a sequel sounds, from its title, like it’s going to be a ribald, politically pointed satire on the contemporary American milieu and its terror at the prospect of terrorism. What this sequel actually does is limply deliver another film where two alleged stoner friends get into scrapes and shenanigans of a generally crude or sexual variety for 90 or so dull, punishing minutes.

Crude’s fine. I can handle crude. Dumb fun I can handle to, in the right mood. The thing is, even dumb and crude humour needs a bit of wit. Without wit, it’s all just shit.

There is precious little wit and plenty of shit on offer here. It doesn’t make it a supremely painful experience to sit through, kind of like a proctological exam, but it doesn’t make for much fun either.

Rating: 
4 stars

Tropic Thunder

dir: Ben Stiller
[img_assist|nid=14|title=Catch the Tropical Fever|desc=|link=none|align=right|width=300|height=286]
If you’d told me that Ben Stiller, yes, that annoying nervy guy with the big ears, was capable of ever making another funny film, I would have metaphorically spat in your face. Maybe not metaphorically, maybe literally! I contend that flicks like Zoolander and many of the other misfires Stiller has been in, just aren’t that funny. I know people who lose control of their bladders at the mere mention of Zoolander, but I’m certainly not one of them.

And I say that as someone who likes Ben Stiller and thinks he’s a funny guy. Funny in the sense that he’s odd, not that he consistently makes me chuckle with his antics or his silly characters in the painfully neurotic films he stars in.

So colour me surprised that I got many a laugh out of Tropic Thunder. Many, many laughs, far more than is usual for me in public. Some parts had me in tears, literal tears of disbelieving, paralysing laughter.

As a fan of war movies, I’ve pretty much seen them all, especially the ones from Nam onwards. Also, I’ve probably seen Saving Private Ryan more times than most mental health professionals would consider healthy. A film that righteously takes the piss out of these films is, perversely, right up my alley. They’re so ripe for parody that they’re practically begging for it.

Rating: 
8 stars

Drillbit Taylor

dir: Stephen Brill
[img_assist|nid=103|title=There is death in my eyes|desc=|link=none|align=right|width=300|height=375]
Soon after making this here particularly worthless flick, Owen Wilson tried to commit suicide. Coincidence?

Director Stephen Brill is responsible for two of the dumbest Adam Sandler comedies (if that isn't a tautology), being Little Nicky and Mr Deeds. Is it possible for a movie directed by such a lowlife to be anywhere near worth watching, especially considering the fact that one of its main stars tried to kill himself soon after the production wrapped up?

The premise revolves around nerds so nerdy the nerds from Revenge of the Nerds would beat them up, being terrorised by an evil bully. So desperate and afraid are they, and so blind is the school to the campaign of terror waged against them, that they decide to hire a bodyguard, who turns out to be a homeless bum. Are the people involved in this production likely to receive Nobel nominations some time next year for their services in highlighting the plight of the homeless?

It’s unlikely. Perhaps I’m making too much of Wilson’s attempted suicide, but the fact is, you know, for a few moments, I was contemplating embracing the emptiness of eternal oblivion just minutes into this misbegotten 80s throwback idiocy.

Rating: 
3 stars

Onion Movie, The

dir: James Kleiner?
[img_assist|nid=74|title=Onions, by their very nature, not especially funny|desc=|link=none|align=right|width=225|height=300]
There is a shroud of mystery, a deathly pall hanging over this movie, the movie called The Onion Movie. What’s its story? What’s going on? How is Rodney Dangerfield in it? Hasn’t he been dead a long while? Has he risen from the grave, searching for the respect that long eluded him? Will his undead zombie be calling for “Brains!” or “Boobies”?

Two digressions: I’ll try to keep them quick. The real antecedent/origin of this flick is an attempt to make something along the lines of Kentucky Fried Movie or the Airplane/Flying High! movies. That’s the style of comedy that comes closest to this both in format and content. Since the movie uses the Onion television channel as its framing device, and the soothing, credible crooning of newsreader Norm Archer (Len Cariou) to link the various stories, with ads and other programs thrown in, it’s almost like it’s made to order template-wise according to the KFC spec.

Rating: 
5 stars

Be Kind Rewind

dir: Michel Gondry
[img_assist|nid=4|title=A less boring version of 2001: A Space Odyssey|desc=|link=none|align=right|width=450|height=270]
Being able to enjoy a flick like this is dependent upon a few variables. A high tolerance threshold for enduring Jack Black helps. Being able to put up with yet another variation on the ‘stick up for the little guy against the heartless government/corporations’ plotline helps.

Being able to appreciate the artschool, ramshackle aesthetic / messiness and the idea that an entire community in New Jersey could be delighted by and pay good money to see short films based on famous movies starring Jack Black and Mos Def, in lieu of watching actual movies, would also be paramount.

Also, where I write ‘artschool’, what I really mean is ‘artfag’. Such a term is not exactly dripping with political correctness and sensitivity, so I’m glad I never used it in the body of this review.

Phew! Dodged a bullet on that one, eh?

In varying degrees and with varying quantities, I guess I do possess or at least entertain some of the variables previously mentioned, because I didn’t hate Be Kind Rewind, despite feeling as if I should have. Sure, it’s pretty shaggy, creaky and cheesy, but I still enjoyed the shit out of it.

Rating: 
7 stars

Forgetting Sarah Marshall

dir: Nicholas Stoller
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This is being released under the “Judd Apatow” banner as if Judd’s name alone is now a seal of filthy comedy approval. Wondering if a comedy is funny? Well, Judd Apatow was involved, so it must be so funny you’ll laugh until you rupture something.

Okay, so 40-Year-Old Virgin was funny, and Knocked Up was funny. Apatow directed them. But now are we really meant to believe that Apatow doesn’t even have to make the movies for them to be funny? He just “produces” them under the Apatow Productions banner, other people direct them, and they’re still full of Apatow-y goodness.

I think not. Even with the commercial and critical success of some of his comedies, the law of diminishing returns kicked in around the time of Drillbit Taylor. Forgetting Sarah Marshall isn’t going to kill off the Apatow bandwagon, but it might throw a wrench or two into the spokes.

It’s not a horrible film, in fact it’s relatively funny at some stages. The main actors aren’t horrible, the costumes are nice, the lighting was okay, and the make-up work is top notch throughout. I don’t know what the catering was like, but it was probably okay. No-one looks like they got sick from bad food, so that’s my assumption as to the relative merits of the food service.

Rating: 
6 stars

Run, Fatboy, Run

dir: David Schimmer
[img_assist|nid=82|title=Run, Slightly Overweight Individual, Run|desc=|link=none|align=right|width=400|height=267]
Sure, the title of this flick is a phrase that has been yelled at me by people in passing cars, the police, girlfriends and my own mother, but I’m not bitter about it…

Well, not too bitter.

Simon Pegg is becoming a ubiquitous figure of British comedy, in that a few comedies come out of Britain each year, and he seems to be in at least one of them annually. Yes, that is my new definition of ubiquity.

He’s recognisable, and has a loyal following of fans who find his antics and constant mugging amusing. Shaun of the Dead and Hot Fuzz are his two most well known roles, but you shouldn’t make the mistake of thinking that this flick right here is anything like those other ones.

This should not, nay, MUST not be confused with the comedies Pegg’s been in with Nick Frost and directed by Ed Wright.

Because, in case you missed it, this flick was directed by the tool who used to play Ross on Friends. Yes, the loathsome, the terrible, the horripilating David Schimmer.

This is a fairly lame and lazy romantic comedy, and had it starred someone else I probably would never have bothered seeing it. It does however have some pretty funny people in it, making up for the abjectly pathetic script.

Rating: 
6 stars

Walk Hard

dir: Jake Kasdan
[img_assist|nid=7|title=Ain't we sweet together?|desc=|link=none|align=right|width=300|height=300]
Walk Hard is, truth be told, a more honest, funnier and more musically adept biopic about Johnny Cash’s life than that film that came out a few years ago with Joaquin Phoenix and Reese Witherspoon whose name doesn’t escape me for the moment. Truth be told, the one doesn’t exist without the other since Walk Hard is such a parody of both Walk the Line and Ray, not only in name but in structure and key moments as well. Substitute actual blindness with smell-blindness, and they’re virtually indistinguishable.

Oh, the structure. At the movie’s beginning, an aged Dewey Cox (John C. Reilly) is about to go on stage, but seems to be waiting for something. A stagehand goes up and hassles him about the need to go onstage in short order. One of Dewey’s longstanding bandmates pipes up, “Can’t you see the man has to think about his entire life before he goes onstage?”

And, of course, from there the story moves back in time to where Dewey is but a boy, and playing with his much more talented and accomplished little brother Nate, who dreams of doing great things one day.

Rating: 
8 stars

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