Tag Archives: comedy

The World’s End

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worlds end

Director: Edgar Wright

Writer: Simon Pegg, Edgar Wright

Starring:  Simon Pegg, Nick Frost, Martin Freeman, Paddy Considine, Eddie Marsan, Rosamund Pike

Tomatometer: 90/88/80 (all critics, top critics, audience)

Spoiler-free Summary: Gary King is a drunk man-child.  His happiest memory involves a somewhat legendary, yet unfinished, pub crawl that took place 20 years earlier.  In an attempt to recapture his glory days, Gary rounds up his four former mates for a second stab at the “Golden Mile”.

Two Cents: There are two types of comedies in Hollywood.  Most comedies fall into the lowbrow bin (Happy Gilmore, Old School, Caddyshack, etc.).  A few can be considered highbrow (just about anything from the Coen brothers, Wes Anderson, or Woody Allen).  Somehow, Simon Pegg and Edgar Wright have managed to carve out a third category – hybrow, a hybrid of the two brows.  I could have gone with “unibrow“, but that’s already taken.

Sure, if we discussed it for a few minutes, we’d come up with a few other films that could be considered a perfect cross between low and highbrow humor, but I’d argue that most of those films, more likely, are either low-end highbrow or high-end lowbrow.  In the interest of saving time, let’s get back to the task at hand.

It takes a true genius to turn a debaucherous pub crawl into a piercing look at middle age.  Luckily, this movie had a few geniuses pulling its strings.  Simon Pegg is probably most recognizable for his supporting role in the two most recent Star Trek movies and the last two Mission: Impossible installments.  However, that’s just a watered-down and Hollywoodified version of the British actor.  The real Pegg only comes out to play when he’s teamed up with his pals Edgar Wright and Nick Frost.  In three films together, this trio has reached a level of writer-director-actor chemistry that is extremely rare in today’s Hollywood landscape.  DiCaprio and Scorsese have it, Burton and Depp have it, but there aren’t many others.  (Note: Technically, The World’s End is part of a trilogy, which also includes Shaun of the Dead  and Hot Fuzz, but each of the three movies can stand firmly on its own.  I prefer to look at them as separate films, simply because I want more!)

No matter what ridiculous scenes might show up in a script, the most humorous part of any comedy is its dialogue.  If the dialogue doesn’t feel natural and witty, a comedy has no chance at being truly funny.  Dialogue is what separates a movie from a YouTube clip.  The World’s End is oozing with clever and hilarious lines layered with boatloads of subtext, the mark of truly gifted writers.  Still, the movie never gets bogged down in being funny.  The 12 pubs on the crawl serve as a spectacular device for briskly moving the story forward and creating believable opportunities for the introduction of supporting characters.

I don’t want to give away any plot points, so I’ll keep this review brief.  The acting is great, the jokes are top-notch, and there’s even a surprise visit from Bill Nighy’s voice.  What more could you want?

Should I/Shouldn’t I: You may feel ill-equipped to watch The World’s End, if you haven’t yet seen Shaun and Fuzz.  Rest assured, that won’t make much of a difference.  If you’ve been waiting for a truly funny comedy that doesn’t rely exclusively on “toilet humor” and the f-word, but still makes you long for your teenage years, this is it.  

Sundae Rating: Two scoops with whipped cream

Blue Jasmine

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blue jasmine

Director: Woody Allen

Writer: Woody Allen

Starring:  Cate Blanchett, Alec Baldwin, Sally Hawkins, Andrew Dice Clay, Bobby Cannavale

Tomatometer: 85/80/79 (all critics, top critics, audience)

Spoiler-free Summary: Jasmine has lost everything – her homes, her jewels, and her Ponzi scheming husband.  Desperate for some stability, she moves in with her formerly estranged sister.

Two Cents: I don’t think I could name a director, nor a writer, with a more distinct style than Woody Allen’s.  If I showed you E.T. for the first time, would you be able to name Steven Spielberg as its director, without hesitation?  I’d counter with Saving Private Ryan, and you’d have to rethink your position.  Would you bet your life on the assumption that Martin Scorcese directed The Departed?  Not if Hugo were the only other Scorcese movie you’d seen.

Even when he’s not acting in his movies, Woody is still very much the star.  Each line of dialogue drips with Allen’s trademark wit and sarcasm.  I am not, by any stretch, a Woody fanatic, but I’ve seen enough of his films to know what a Woody Allen film is.  And, Blue Jasmine is undoubtedly a Woody Allen film.

As one of my friends put it, Woody Allen is played by Cate Blanchett.  Her Jasmine is the broken and scorned widow of a financial schemer.  Plainly, Jasmine is Allen’s version of Ruth Madoff.  Her husband, Hal, a WASPy version of Bernie, is played by the brilliant Alec Baldwin.

Blanchett, like Woody often does, moves effortlessly between cynicism, self-loathing, and preachiness.  Though Jasmine’s own life is a complete mess, she always knows best how to fix the lives of those around her.  She is the paradigm of what everyone thinks would happen to a billionaire who loses everything.  She’s completely lost her bearings, she has no plan of action, and she’s been shunned by her “friends”.  However, because she once had a house in the Hamptons, she believes she’s still more intelligent and righteous than everyone with whom she interacts.  In a way, Blue Jasmine is a revenge fantasy for anyone who’s ever secretly (or not so secretly) craved the downfall of a person of means.  Let’s be honest.  How badly do you want to see an episode of Keeping Up with the Kardashians after Kris loses all her money?  Sure, it sounds cruel, but that would get a better rating than the Super Bowl.  

As he always does, Allen put together a stellar cast for this film.  Each performance is commendable, but Blanchett’s stands out.  Sally Hawkins was good enough that, from now on, I’ll actually care if Sally Hawkins is in a movie.  Andrew Dice Clay was surprisingly convincing as the representative for The Working Man, and I only wish he had more screen time.  Bobby Cannavale did a nice job as Hawkins’s boyfriend, but I don’t think I’ll ever be impressed with Cannavale again, after his phenomenal performance on the 2012 season of Boardwalk Empire.  Louis C.K. was fine in a small cameo, but that’s really all it was.

Should I/Shouldn’t I: You’d think that, after 49 films, all with a very similar and distinct voice, we’d be over Woody Allen.  Apparently, we’re not.  This past Sunday morning, I arrived early to the theater, which is a rare occurrence.  To my surprise, there was a line around the corner.  I’ve never seen such a long line for a movie that was not about a superhuman.  Granted, the average age of the line’s inhabitants was north of 70, but that only proves Allen’s staying power even more.  These people have already seen the other 48!  No, Blue Jasmine is not a great movie, but it’s a good movie that will certainly satisfy Woody’s fans.  Blanchett is the story, but since she really is just playing Woody, she only gets partial credit for her performance.  If you like Woody Allen, in general, you’ll enjoy this one.  If you’re unfamiliar with his work, this film will serve as a fine introduction to his portfolio.

Sundae Rating: Two scoops

The Way, Way Back

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way way back

Director: Nat Faxon, Jim Rash

Writer: Nat Faxon, Jim Rash

Starring:  Liam James, Steve Carell, Toni Collette, Sam Rockwell

Tomatometer: 85/91/92 (all critics, top critics, audience)

Spoiler-free Summary: Duncan’s mom is dating an a-hole named (what else?) Trent.  Imprisoned at Trent’s beach house for the summer, Duncan attempts to make the most of his predicament by taking a job at a local water park.

Two Cents: Malone and Stockton.  Simon and Garfunkel.  Abbott and Costello.  Dean and Jerry.

It has been said that, behind every great man, there is a great woman.  No disrespect to the superior gender, but I have to disagree, somewhat.  Often, the individual behind one great man is an equally great second man.

Throughout the history of American entertainment, good men have been teaming up to create legendary duos.  The duos mentioned above prove this in spades.  For some reason, however, this phenomenon has been largely absent from American film direction.  Sure, there are a few well-known pairs who have made ripples here and there, but the only truly famous examples that come to mind are three pairs of brothers – the Wachowskis, the Farrellys, and the gold standard, the Coens.  (The Duplass brothers are doing some terrific work, as well, but no one really knows them by name.)

Why aren’t there any big-name directing duos in Hollywood who don’t share one surname?  Allow me to venture a guess.  Hollywood is an industry driven by two things, above all others – money and ego.  (And, the money is really only a barometer for egos to measure themselves against other egos.)  Naturally, humans have a hard time sharing success.  We aren’t programmed to admit how much other people’s efforts and intelligence have influenced our achievements.  We’re always trying to differentiate our work from that of others, while still taking some credit for their work, too.  With an artform such as film direction, however, differentiating one person’s work from that of another, is extremely difficult. (We don’t know which Farrelly decided which sound was the most annoying in the world, and we can’t begin to guess which Wachowski decided to put Neo in a leather trenchcoat.  You could ask them, but could you count on their honesty?)

In an industry where ego is king, each director wants to prove he can do great work on his own.  The quest for individual achievement tears countless successful partnership apart.  When is it easier to enjoy the success of a partner nearly as much as your own?  When is it more difficult to leave a partner in the dust, in hopes of hanging up your own shingle?  When that partner is your brother.

Perhaps, I’m correct.  Perhaps, I’m way off.  Either way, I believe the value of a great duo is often far greater than the sum of its parts.  For that reason, I pray that Nat Faxon and Jim Rash will continue to create introspective, heartfelt, and hilarious movies TOGETHER.  When they accepted their joint Oscar (from Angelina’s right leg) for co-writing The Descendants with director Alexander Payne, I couldn’t believe that Rolf (second from left) and Dean Pelton were responsible for one of the best-written screenplays in years.  I couldn’t help but wonder whether they had another masterpiece left in them.  After all, The Descendants was quite different from the work each had done in the past.  Alas, my dreams have come true!

As co-writers, co-directors, and co-producers, Faxon and Rash have soared to even greater heights with The Way, Way Back.  They wrote an outstanding script with realistic and punch-in-the-gut poignant dialogue, assembled a stellar cast of understated stars possessing immense talent, and directed the crap out of it all.  

Steve Carell is fantastic as douchebag Trent, and his condescending tone is one of the highlights of the movie.  You’ll wonder how you ever liked Steve Carell, in the first place.  And, that’s exactly what he was going for.  Toni Collette plays an incredibly real divorced woman caught between her child’s happiness and her own.  Sam Rockwell shines as the damaged, yet optimistic, antihero to a young boy in need of one.  The supporting cast, which includes Allison Janney, Rob Corddry, Amand Peet, AnnaSophia Robb, River Alexander, Maya Rudolph, Faxon, Rash, and others, is top-notch.  Although many of the roles are small, each plays a significant part and is played with tremendous skill, yet another tribute to the co-directors’ talent.

Liam James is so good, I’m shocked he doesn’t have any new projects lined up (according to IMDB).  His timidness and awkwardness are so authentic, you’ll be mad at yourself for laughing at his expense and not rushing to his aid.  I expect he’ll be popping up quite a bit over the next few years.  Think of him as Topher Grace mixed with Emile Hirsch, but only 17 years old.

If former Groundlings Faxon and Rash manage to stay together for the long haul, we are all in for a treat.  The ability to create microcosmic stories with powerful lessons and a healthy dose of humor is extremely rare, but this duo proves that such stories can, at once, be inspiring and entertaining.  At this moment, I’d be hard-pressed to think of a writing or directing team I love more.  Let’s raise a glass.  Here’s to many more happy years together!

Should I/Shouldn’t I: No matter what you’re doing today, tomorrow, or the next day, or this weekend, I promise none of it is more important than rushing to a theater for the next showing of The Way, Way Back.  Faxon and Rash are superstars-in-the-making, and a front row seat will cost you less than popcorn and a soda.  If you’ve recently proclaimed that there are never any great movies, you’re about to eat your hat.

Sundae Rating: Two scoops with whipped cream and hot fudge

This is the End

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this is the end

Director: Evan Goldberg, Seth Rogen

Writer: Seth Rogen, Evan Goldberg

Starring:  Seth Rogen, Jay Baruchel, James Franco, Craig Robinson, Jonah Hill, Danny McBride

Tomatometer: 84/82/89 (all critics, top critics, audience)

Spoiler-free Summary: Jay hates Los Angeles, but he comes to town to visit Seth, his best pal.  Although Jay is hoping to spend his vacation with Seth by his side, Seth drags him to a party at James Franco’s new house.  The party is a star-gazer’s dream, but Hollywood stars are the very people Jay tries to avoid.  Sadly, Jay gets stuck in the house, along with his rivals, as they witness the apocalypse, just outside James Franco’s front door.

Two Cents: The general rule states as follows: When greater than four, the number of famous people in a movie is inversely proportional to the quality of the movie.  In simpler terms, the more celebrities, the worse the movie.

Exhibit A: Valentine’s Day

Exhibit B: New Year’s Eve

Exhibit C: Mars Attacks!

I could go on, but you get the point.  When I saw the trailer for This is the End, I threw up in my mouth.  How could so many of my favorite comedic actors sink to such a level?  Do I really need to watch a bunch of rich, famous, lucky bastards who “made it” sit around discussing how great they are?  Hell, no!  Besides, hasn’t the world gotten over Seth Rogen by now?

Then came the reviews.  To my surprise, days before its release, This is the End was piling up rave reviews from film critics, the most pretentious naysayers on Earth!  (I don’t consider myself a film critic, as I’m not nearly qualified to be one, but you should feel free to form your own opinion about my pretentiousness.)  Obviously, I had to see what all the fuss was about.

This movie blew me away.  No joke.  I was extremely impressed.  I don’t think it was a fantastic movie, but I do commend Rogen, Goldberg, and their pals for putting together a raunchy and hilarious interpretation of the Bible’s description of Armageddon.  Not only do they poke more than enough fun at themselves, but they tear down all pretenses about Hollywood, in general.  Although many of the characters are exaggerated (or completely falsified) versions of the actors playing them, the filmmakers make it crystal clear that they are truthfully depicting the young Hollywood lifestyle.  It’s a douchebag-infested swamp of undeservedly inflated egos, faux friendship, and debauchery, and it will be Satan’s first stop when he does destroy humanity.  Still, it’s pretty darn fun.

As much as I dislike his acting (although, I loved him in The 40-Year-Old Virgin), I greatly admire Seth Rogen as a writer.  He possesses the remarkable ability to write scenes that are simultaneously vulgar, funny, and heartfelt.  He knows who his friends are, and he knows their skills, bringing out the best of each one in every single scene.  His obsession with abnormally gigantic penises (which first surfaced in Superbad) is something he should share with a therapist, but it is still funny.  (Next time, it probably won’t be.)

Of the main cast, James Franco has compiled the most impressive résumé.  However, he seems most comfortable when surrounded by this crew.  He’s definitely here for the experience, and not for the paycheck.  Jonah Hill has followed in Franco’s footsteps, in some ways, even notching an Oscar nomination for his work in Moneyball.  He’s got plenty of skill, but he’s the least interesting character in this film.  Normally the one on whom a film relies for comic relief, here, Hill pales in comparison to Danny McBride.  One of the more vulgar actors working these days, McBride is responsible for some intense laughs as an even-more-ridiculous version of his famous Kenny Powers character.  Jay Baruchel is likable, and just the right amount of irritating, as the Woody Allen of the group, and Craig Robinson’s clean-ish comedy is a much-needed chaser to offset the movie’s overall crudeness.

Altogether, Rogen and Goldberg have managed to turn one of the most debated portions of the Bible into a bona fide comedic revelation, while still delivering a powerful message.  The cast is superb, and the cameos only add to it.  Rogen and Goldberg’s shared ability to control the cast, focus on plot, and avoid getting carried away with improvised bits is staggering.  Most of all, their description of heaven is precisely in line with what I’ve always hoped the real thing would be.

Of course, rules are made to be broken, and this ensemble cast delivered when I doubted them.  However, let’s hope no other groups of Hollywood pals decide to follow in their footsteps.  I can’t think of many (if any) crews that possess as much talent and self-control as does this one.

Should I/Shouldn’t I: If you’ve been waiting for a legitimately good comedy to hit theaters in 2013, This is the End is a must-see.  You won’t be knocking Tommy Boy or Caddyshack off your list of all-time favorite comedies, but you’ll easily satisfy your humor quota for the week.  

Sundae Rating: Two scoops with whipped cream

The Kings of Summer

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kings of summer

Director: Jordan Vogt-Roberts

Writer: Chris Galletta

Starring:  Nick Robinson, Gabriel Basso, Moises Arias, Nick Offerman, Erin Moriarty

Tomatometer: 72/61/83 (all critics, top critics, audience)

Spoiler-free Summary: Sick of living with his miserable father, and hoping to impress his sweetheart, Kelly, Joe decides to run away from home and live in the woods.  He is joined by his best pal, Patrick, who is desperate to escape the claws of his own overbearing and unbearably annoying parents.  Somehow, Biaggio, a peculiar neighborhood kid, winds up on the team, as well.

Two Cents: Some movies are summer movies because they are released during the summer.  Others are summer movies because they celebrate the most wonderful blessing ever bestowed on a child – summer!  Not summer in terms of weather and Earth’s position in the galaxy, but summer in terms of vacation from school.  The Kings of Summer, as you may have surmised from its title, is in the latter category.

In this exquisite ode to the freedom and exploration (of nature and self) that are synonymous with summer vacation, three teenagers cause widespread panic as they courageously escape their mundane lives.  The only sad part of the movie is the fact that the main characters are so sheltered, they’ve never even heard of sleep-away camp, a modern and popular alternative to running away from home.  Sad as that may be, Joe, Patrick, and Biaggio make the most of their summer break by building a sweet “tree house” in the woods.  While living there, they encounter all the problems one might expect to befall a suburban teenager living on his own – lack of funds, lack of survival skills, and, most importantly, lack of deodorant.

Although the main characters seek freedom from their parents, that freedom is symbolic.  Not only do these kids live outside of their homes, but they live outside the pressures of teenage social life.  An athlete, a nerd, and a complete nut job become family, much like in The Breakfast Club, simply because they are together, and no one else is watching.  It’s a classic theme in teen movies, and Vogt-Roberts handles it beautifully.  I often remind myself that, were there no one on Earth but we two, Brad Pitt would consider me his best friend.

Robinson, Basso, and Arias are all solid in this film, but none stands out as a future star.  Arias is the most interesting, as he takes awkwardness to new heights, but his act probably isn’t sustainable.  Moriarty does a nice job as Joe’s love interest, but she may not end up being yours.  Nick Offerman is the real star of the movie, delivering his classic mean-spirited, dry sarcasm with incredible touch.  Megan Mullally puts her famously shrill voice to good use as Patrick’s insufferable mother.

Should I/Shouldn’t I: The Kings of Summer is the kind of movie that makes you long for your childhood.  If you’re not seduced by all the billboards and commercials hawking blockbusters this summer, find some time to see this indie.  It won’t be playing in many theaters, and it might not be out for very long, so get on your horse!

Sundae Rating: Two scoops with whipped cream

The Hangover Part III

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hangover 3 poster

Director: Todd Phillips

Writer: Todd Phillips, Craig Mazin

Starring: Zach Galifianakis, Ken Jeong, Ed Helms, Bradley Cooper, John Goodman

Tomatometer: 21/19/88 (all critics, top critics, audience)

Spoiler-free Summary: Alan has gone off his meds, and he’s too much for his parents to handle.  The Wolfpack agrees to shuttle Alan to a psychiatric facility in Arizona.  On the way, the boys are attacked by a criminal mastermind in search of Mr. Chow.  In order to save (white) Doug, the Wolfpack must track down their wacky acquaintance.

Two Cents: What do all great supporting characters have in common?  The word “supporting”.  In the final (please, God) installment of the Hangover series, Todd Phillips makes the grave error of attempting to turn a supporting character into a main character.  Then, in an unprecedented move that must have been sparked by a complete loss of brain function, Phillips attempts to turn an even less significant supporting character into a main character, as well.  I deserve to be punched in the face for using the following term, but I can’t think of anything more apropos: EPIC FAIL!

In The Hangover, we were introduced to Alan, one of the most hilariously clueless characters in buddy comedy history.  Zach Galifianakis’s performance was so inventive and refreshing, it set him down a career path that has, so far, been littered with discount copies of the same exact role.  In The Hangover Part III, Alan becomes the central character and, thanks to reviews like this one, Todd Phillips has finally learned what the people on Hoarders learned long ago – too much of a good thing can really suck.  Alan’s act gets very old very quickly.  As much as I love and admire Galifianakis, fifteen minutes into the movie, I found myself doing something I normally save for my private time – begging for more Bradley Cooper.

Not only does Alan take center stage in Part III, but he’s joined in the spotlight by Ken Jeong’s eccentric and thrill-seeking criminal, Mr. Chow.  In the first installment, Chow was a welcome addition to an already-stellar roster of comedic characters.  In the second, he was the kind of friend from whom you’d like to hear a story or two, but with whom you’d never actually want to spend the time it takes to hear a story or two.  In this installment, he’s just downright unbearable.

Think about some of the great supporting characters from comedy films – Carl Spackler from Caddyshack, Les Grossman from Tropic Thunder, and Farva from Super Troopers, for example.  All these classic characters were introduced to us by directors who understand that wacky supporting performances should be used like salt.  A few shakes  of salt can make a decent meal truly wonderful, but, if you let the cap fall off, the whole dish is ruined.

From the opening sequence of the film to the last, it is painfully obvious that Phillips has run out of ideas for his beloved characters.  Funny can’t be forced, and, apparently, neither can laughter.  As hard as I tried, I did not laugh out loud a single time during this movie.  You know you’ve wasted your money (luckily, I attended a half-price showing) when the big opening joke (the one that sets the tone for the entire movie) revolves around giraffes being taller than cars.  The film ends with a teaser (as every installment in a series of movies should), suggesting the possibility of a fourth Hangover movie, but let’s hope the promotional posters are truthful and “The End” really means the end.

So long, Alan Garner.  I sincerely hope we never meet again.

Should I/Shouldn’t I: You should not.

Sundae Rating: Empty cup

Warm Bodies

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Director: Jonathan Levine

Writer: Jonathan Levine

Based On: Novel (Warm Bodies) by Isaac Marion

Starring: Nicholas Hoult, Teresa Palmer, John Malkovich, Rob Corddry

Tomatometer: 78/65/82 (all critics, top critics, audience)

Spoiler-free Summary: I had a feeling Nicholas Hoult was brain-dead.  What other excuse could he have for breaking up with Jennifer Lawrence?  As it turns out, he’s just regular dead (no heartbeat), but his brain still works.  Hoult’s character, R, is a miserable zombie who desperately wants to rejoin the human race.  His life is boring, he hasn’t quite gotten used to eating human flesh, and his only meaningful relationship consists of a few daily grunts exchanged with Rob Corddry’s M.  Enter Julie, a stunner from (possibly) Earth’s final remaining human settlement.  As Hoult begins to fall for Julie, played by Aussie beauty Palmer, he finds himself slowly regaining his humanity.  Unfortunately, he’s got to prove himself to Julie, who just happens to be the daughter of the de facto King of the human race, a zombie-hating John Malkovich.

Two Cents: We all know that the paranormal romance genre is getting a bit (read: extremely) out of hand.  However, I found it refreshing to see a fresh take on the concept of human hottie falls for non-human hottie against all odds.  This film was so different, and so self-deprecating (including a sarcastic comparison with Romeo and Juliet), that I didn’t mind the whole zombie thing at all.  Seeing the apocalypse from the POV of a zombie was interesting, as well, especially a zombie who still has an appreciation for great music (on vinyl).

Hoult is about to become a huge star (and he might be able to make his success longer than Taylor Kitsch’s did), so take notice.  He’ll be appearing in Jack the Giant Slayer and the next X-Men movie (along with his old flame, J-Law).  Palmer may just be the flavor of the week, but she’s got some talent, and a face that can put butts in seats (imagine a much better looking Kristen Stewart, plus a sweet accent).  I keep asking myself how the heck John Malkovich ended up in this movie, but I’m not complaining.  Now that he barely makes any movies, it’s always nice to get a glimpse of him.  I was hoping for a little more humor than I got from Rob Corddry, but it was nice to see him take on one of his more challenging roles.

Should I/Shouldn’t I: Feel free to wait for this movie to hit HBO.  Once it does, romance and rom-com fans will eat it up.  Comedy and action fans will not find much of that for which they are hoping.

Sundae Rating: Two scoops with whipped cream