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Archive for the ‘Comedy/Laffs’ Category

Three Billboards outside Ebbing, Missouri

Monday, December 11th, 2017

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI is playwright turned IN BRUGES/SEVEN PSYCHOPATHS director Martin McDonagh’s exploration of a grieving mother at war with the local PD. Her teenage daughter was raped and killed seven months ago, and she’s mad that they haven’t made any arrests, so she rents three billboards that bluntly explain the situation and blame the police chief by name.

I probly don’t need to tell you that this creates some tension in town. Chief Willoughby (Woody Harrelson, SEVEN POUNDS, SEVEN PSYCHOPATHS, TRIPLE 9, THE EDGE OF SEVENTEEN, 2012) tries to reason with her politely about taking it down. His deputy Dixon (Sam Rockwell, TEENAGE MUTANT NINJA TURTLES), who is locally infamous for an unexplained incident involving the torture of a black man, is not as cool-headed about it, and threatens poor Red Welby (Caleb Landry Jones, GET OUT) at the billboard company. The woman’s son Robbie (Lucas Hedges, MANCHESTER BY THE SEA) is traumatized and hurt by the graphic details of the murder he had previously avoided knowing. Her ex-husband Charlie (John Hawkes, STEEL), a domestic abuser and a cop, is embarrassed by it and doesn’t think it helps anything. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Ingrid Goes West

Monday, November 13th, 2017

INGRID GOES WEST is kind of like a KING OF COMEDY for the smart phone era. Instead of seeking fame by doing something on television our stalker wants to live a blandly glamorous life on Instagram. But this is not just an update of the ol’ “people will do anything for fame” trope we’ve seen in MAN BITES DOG, NATURAL BORN KILLERS, etc. Sure, Ingrid would love more likes and followers, but mostly she wants attention from one specific person who’s famous on Instagram. So, no big deal, she moves to L.A. to try to find her.

Aubrey Plaza (SCOTT PILGRIM VS. THE WORLD) is outstanding as Ingrid, a multi-layered role that evokes uncomfortable laughs, creeped-out squirms and also some sympathy. She has comic timing, subtle expressions, pathos, and next-level physical comedy in the scene where she first encounters the famous Taylor Sloane (Elizabeth Olsen, OLD BOY) in a store and tries way too hard to browse casually. She’s not so much posing for social media as living life as if she’s inside social media. When she first gets to L.A. she rides around on a bike with a forced “say cheese” smile stuck on her face.

She’s a SINGLE WHITE FEMALE reading what Taylor likes so she can go to the places she goes, eat the things she eats, read (or at least hold) the books she recommends. We watch her struggle to construct the perfect inane one-sentence comment, an online activity soon to be repeated IRL when she finds Taylor and, you know, kidnaps her dog. Just as a way to meet her and start a friendship. It’s all cool, don’t worry about it. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Okja

Monday, September 11th, 2017

This year THE HOST and SNOWPIERCER director Bong Joon-ho made a truly one-of-a-kind movie. OKJA is a sweet girl-and-her-creature tale like MY NEIGHBOR TOTORO after it has been swallowed by a vicious satire of corporate greed and man’s treatment of animals. It’s produced by Netflix with an international cast, many of them speaking English, but its wild shifts in tone make it feel safely within the tradition of South Korean cinema.

It already seems bug-nuts from the opening, when aggressively-faux-enlightened Mirando Corporation CEO Lucy Mirando (Tilda Swinton, CONSTANTINE) gives her colorful presentation about the “discovery” of the allegedly miraculously eco-friendly “superpig” species and their plan to give them to farmers in 26 cities around the world to raise for ten years using their local traditions and then to crown one as the best.

The decade passes, and young Mija (Ahn Seo-Hyun, the daughter in THE YELLOW SEA) lives an idyllic life in some mountains in Korea helping her grandfather (Byun Hee-bong, MEMORIES OF MURDER) take care of their superpig Okja. She’s bigger than a hippo – looks like a giant Eeyore – but limber enough to leap around like Ang Lee’s Hulk. Mija plays with her and rolls around on top of her belly and climbs inside her mouth to brush her teeth for her. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Mystery Men

Monday, July 24th, 2017
a survey of summer movies that just didn’t catch on

July 22, 1999

MYSTERY MEN. Huh. There might’ve been room for a big budget super hero parody movie in 1999, if you’re into that sort of thing, but it needed better jokes than “ha ha, this would be a terrible super hero. What a dumb name and costume.” This is an impressive cast in a big, expensive comedy with very few laughs.

A group of amateur super heroes – shovel-carrying The Shoveler (William H. Macy, THE LAST DRAGON), fork-throwing Blue Raja (Hank Azaria, HEAT) and leather-jacket wearing Mr. Furious (Ben Stiller, NEXT OF KIN) struggle to find success or recognition. They’re definitely meant to be lovable underdog misfits, but I had trouble respecting them. It’s established that there’s an actual super powered guy called Captain Amazing (Greg Kinnear, THE MATADOR) who’s a douche and wears corporate logos like a NASCAR driver but he’s made Champion City so safe that he has to get his arch-nemesis Casanova Frankenstein (Geoffrey Rush, MUNICH) released from the asylum just to have something to do. Before that happens the unnamed Mystery Men couldn’t be little guys trying to make a different in a harsh world – they’re delusional losers trying to feel important by forcing themselves into a job that they’re not needed for, and are really, really bad at. I did not find them appealing. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Wild Wild West

Tuesday, July 18th, 2017
a survey of summer movies that just didn’t catch on

Big Willie Weekend, 1999

Two summers after their hit film MEN IN BLACK, director Barry Sonnenfeld (d.p. of BLOOD SIMPLE) and star Will Smith (SUICIDE SQUAD) tried to bring a similar comedy/special-effects/adventure mix to the old west. It’s like a western in that there are cowboy hats, guns, railroads and occasional horses, but also not really because it’s about two top agents for the president going undercover and then having a big battle against a giant mechanical spider that’s on a rampage and headed for the White House. Not a type of story I’ve seen done with John Wayne or Clint or anybody.

The basis is The Wild Wild West, a western-meets-spies TV show that lasted four seasons, ending thirty years prior to the movie. It was actually cancelled not due to a lack of popularity, but controversy over violence on television, and did have two followup TV movies. But the last of those was in 1980, and nineteen years later it was at best a cult show, and not yet available on DVD. So this is another expensive blockbuster based on characters that most of its intended youthful audience had never seen, or in this case even heard of.

But they didn’t have to know it was based on anything. Waning interest in westerns may have been a bigger problem, but that could’ve been overcome by the popularity of Smith, or the fun gimmick of the gadgets and steampunk type robotics, or the energetic style and cartoonish humor of the director of the ADDAMS FAMILY movies.

But that didn’t happen. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

GLOW Season 1

Thursday, July 13th, 2017

I don’t usually review TV, but this show is short and consistent enough to review like a movie, and long-time commenter Mr. Majestyk tried to get me to defend my love for it, and it seemed to me worthy of its own post.

GLOW is a fun new Netflix show inspired by the 1986 founding of the Gorgeous Ladies of Wrestling. It’s not a historically accurate representation of people or events, and even the wrestling personas are sort of off brand or alternate dimension versions. There’s a Machu Picchu instead of Mountain Fiji, and a team called The Beatdown Bitties are similar to The Housewives. But it takes the idea of fringe Hollywood people doing a casting call for women willing to live in a house together and learn to wrestle, and makes it into ten breezy half-hour-ish episodes of dramedy. There are underdogs, friendships, creative expression and a winning let’s-put-on-a-show spirit. And the show they put on is women in crazy costumes and glitter makeup tossing each other around in a ring with pink ropes, which is better than some other types of shows that somebody might put on. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

The Meteor Man

Tuesday, June 13th, 2017

a survey of summer movies that just didn’t catch on

August 6, 1993

We got a few super heroes in this series, but THE METEOR MAN is the first original one. I mean “original” as in appearing here for the first time, not as in distinctive and unique. This is a comedy(ish) by Robert Townsend, so it’s basically “what if a regular guy became a super hero?,” which means intentionally generic super power/vigilante tropes, sometimes setting up jokes, but not always. In fact the opening credits have no comedy at all. It starts with Cliff Eidelman’s STAR WARS-esque scoring and a special effects sequence of a meteor exploding as the title flies at us ala SUPERMAN: THE MOVIE.

After that it pretty much looks and feels like a comedy, but it’s mostly serious in its story about a guy wanting to protect his neighborhood from a gang.

The guy is Jefferson Reed, wimpy Washington DC substitute teacher and, because this is a couple years after MO’ BETTER BLUES, member of “the baddest jazz trio in DC.” So they mention Wynton Marsalis a couple times, he has white suits, musical note pajamas and jazz memorabilia, and he tries to trade records with his neighbor Mr. Moses (James Earl Jones, BEST OF THE BEST), but we never actually see him play his bass (rip off).

Nice character detail: he has one of those car stereos that you pull out and carry around with you. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Coneheads

Monday, June 12th, 2017

a survey of summer movies that just didn’t catch on

July 23rd, 1993

Dan Aykroyd was the mastermind behind two of the most beloved comedies of the ’80s: THE BLUES BROTHERS (possibly my favorite comedy of all time) and GHOSTBUSTERS (male version), so what could be more of a no-brainer than to have him turn his most famous Saturday Night Live sketch into a movie?

Like GHOSTBUSTERS, CONEHEADS teams him with an ensemble of great comedic talents from SNL and elsewhere to build on a comedy premise about an intersection between the regular world and a fantastical one. Instead of a supernatural element it’s an extra-terrestrial one. The Coneheads are an alien couple who crash their Remulakian space cruiser outside New York and while waiting for extraction decide to live as earthlings, first in a motorhome, then in the New Jersey suburbs, raising a daughter, owning a house, golfing, etc. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

The Hunt For the Wilderpeople

Wednesday, May 3rd, 2017

THE HUNT FOR THE WILDERPEOPLE is a sweet New Zealand comedy about a gruff, inarticulate woodsman and his goofball foster child on the run together in the wilderness. To give you an idea of their differing outdoor skill levels, Hec (Sam Neill, DAYBREAKERS) has a broken ankle, but still manages to wrestle and stab a large boar to death, while Ricky (Julian Dennison, PAPER PLANES) initially called the woods “that jungle.”

The movie starts with child welfare services dumping Ricky off with Hec’s wife Bella (Rima Te Wiata). Ricky apparently has a hell of a rap sheet (spitting, kicking things, throwing things) and he looks funny standing on this rugged Hoggett Hollow wearing his shiny hat and giant hoody with dollar sign and diamond print. He later gets a dog and names him after Tupac Shakur, who he explains to Hec is “a rapper and my best friend.” (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Josie and the Pussycats

Wednesday, March 8th, 2017

Before Riverdale, before the Marvel Cinematic Universe, before Christopher Nolan Batman, before 9-11 even, there was a different type of comic book movie: JOSIE AND THE PUSSYCATS. Inspired by the Archie comic book and Hanna-Barbera cartoon, writer/directors Harry Elfont & Deborah Kaplan told a goofy version of the little-rock-‘n-roll-band-tested-by-overnight-superstardom story.

Actually maybe we should forget about comics and consider this timeline: it was a year before American Idol started. The Spice Girls had packed it up the year before. NSYNC and Backstreet Boys were still popular. The movie seems to offer the Pussycats as a refreshing alternative for teenage girls to obsess over instead of boy bands, but it should be noted that Destiny’s Child, Alicia Keys, Jennifer Lopez, Janet Jackson, Brandy, Madonna, Mary J. Blige, Pink, and Aaliyah (plus Britney Spears and Jessica Simpson) all had hits that year. But I guess the Pussycats do stand out by playing instruments. Their songs are kind of sassy pop punk, not good in my opinion but not as intolerable as some in-movie music. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.