Posts Tagged ‘comedy’

Film Review: “Jennifer’s Body”

PrintTo Hollywood’s credit, there’ve been a lot of female-focused thriller/horror films coming out lately. It’s almost as if production studios in La-La Land have suddenly realized there’s a feminine demographic they could cater to/exploit. Unfortunately for the ladies, studios still think that they can just throw anything at audiences and get away with it, which is why so many of the recent “girl power”-type films have been lousy.

The new horror/comedy Jennifer’s Body, written by Diablo Cody (instantly famous for penning the brilliant Juno) and directed by Karyn Kusama (AEon Flux and Girlfight, the latter of which bestowed upon the world the dubious gift of Michelle Rodriguez) is without a doubt the best of the bunch to come along thus far, although given its surprisingly uneven narrative, that’s not saying much.

First off, for those of you who are wondering: yes, Kusama kept in the scene where the two leads Jennifer (Megan Fox) and her oddly named best friend Needy (Amanda Seyfried) share a “controversial” lesbian kiss. It’s in close-up, it’s almost two minutes long, and for those who are attracted to such, it’s a very satisfying scene. Not since Susan Sarandon got it on with Catherine Deneuve in 1983’s The Hunger have two women looked so good together. Sorry to spoil it for you though, Fox and Seyfried only almost end up in bed together. (more…)

Film Review: “Funny People”

Funny_People_PosterFunny People, the latest film by writer/director Judd Apatow (Knocked Up, The 40-Year-Old Virgin) has been advertised as being a comedy, when in fact it is more of a dramedy, which happens to contain many moments of true hilarity. It is Apatow’s most mature film to date (this in spite of the director’s need to talk about penises every 2.5 minutes in each of his films), and certainly the most mature work Sandler (Big Daddy, You Don’t Mess With The Zohan) has ever done in his life. While it’s not proof that either man will ever truly grow up, it’s a testament to the fact that both are maturing in their approach to the material they work on.

Sandler plays George Simmons, an amazingly successful former standup comedian-turned-actor, who has sold out his principles for a big mansion and a hefty cut of his movies’ box office grosses. He’s still good to his fans though, stopping to pose for pictures and crack jokes in order to make sure they crack a smile. However when George gets some tests back from his doctor, stating that he has an extremely rare blood disease and his chances are grim bordering on hopeless, he begins the slow path through self-absorbed grief to introspection and ultimately makes an earnest attempt to right the wrongs of his life.

At a comedy club one night, George happens to cross paths with Ira Wright (Seth Rogen, who also served as an executive producer on the film), a barely funny funnyman whose own friends at work and his roommates at home continually tell him how unamusing he is. Perhaps it’s the fact that Ira’s giving his all that one night, or George is too lost in his own self-pity to notice fully, but some of Ira’s material strikes a chord with him as having promise, and George hires Ira to write jokes for him. (more…)

Dw. Dunphy On… “Oooo, But It’s Good”

Jack Sheldon is many things, from a world-class jazz trumpeter to the musical director/bandleader of the old Merv Griffin talk show to a Bill on Capitol Hill. He’s also known for his bizarre sense of humor, a side of his personality that surfaced in 1962 on the album Oooo, But It’s Good. Sandwiched between standard jazz releases, one has to imagine the plight of the hep cat who brought home this particular platter, put it on and heard Sheldon tell the tale of Irving Lancelot and the Medieval Jazz Quartet. This ain’t jazz. This ain’t even word jazz.

I don’t know how I came into possession of this album, only that it happened way back in the ’80s. It might have been procured at one of the thrift stores in the area, so fashionable at the time. Either that or one of those disgruntled hep cats finally threw it out and my dad’s friend George, a kind soul with a knack for buying low and selling high (i.e. selective Dumpster diving), dropped it off. Of course, I didn’t know Sheldon from shinola, and even his distinctive singing voice on the lone musical track, “Born to Lose,” failed to ring bell one. Oh, I knew of that famous Schoolhouse Rock skit, as well as his other notable short for “Conjunction Junction (What’s Your Function?),” but like Clark Kent with his trumpet — uh, eyeglasses — Sheldon out of context was something I couldn’t recognize.

Two critical notes, one on the files and the other on the recording itself: These come right from the 47-year-old album, so the sound quality is slightly on the FUBAR side, but as an entertainment curio I felt the recording was worth the time anyhow. As far as the recording itself, I submit that you’ll probably never hear a drunker audience than you will here. Even when Sheldon overworks a premise on the way down to Bad-Pun Punchline Town, the crowd laughs like a third grade class who’s just heard a fresh fart joke. In particular, listen for the lady cackling like a barnyard animal. You’ll know it when you hear it.

Oooo, But It’s Good has never been released on CD. I suspect it’s never been on cassette either, just to illustrate how far behind the lines this album truly is, so I think I’m safe in offering it in its entirety here, so that the blogosphere can experience the twisted wit of Jack Sheldon. Enjoy.

Irving Lancelot and the Medieval Jazz Quartet

Experiments With Rats

Born to Lose

Amoeba Jazz

The Falcon

The Last of the Great Fun Wars

DVD Review: “My Name Is Bruce”

Cover of "My Name Is Bruce"I have to admit, I’ve always been more a fan of B-movie living legend Bruce Campbell’s personality than I have any of his films. Like most celebrities, there are conflicting stories of whether Bruce is a duke or a douche, but from every interview I’ve ever seen or read concerning him, he seems to be a very down-to-earth guy who’s well aware of his place in the universe, and which in turn makes him appear to be a more affable guy than most…and in the long run, makes watching those few films I’ve seen him in(the big ones like the Evil Dead trilogy, and the seldom-seen like Terminal Invasion) easier to enjoy.

I love any actor who’s willing to poke fun at themselves and deflate their perceived image whenever possible, and in his newest flick, My Name Is Bruce, Campbell pokes long and hard, and does a whole lot of deflating. Playing a sleazy version of himself–jackass on set, living in a beat-up trailer and drinking Shemp Whiskey out of his dog Sam’nRob’s (one of the many homages within the film to friends, associates and others during his long and storied career) bowl–this Campbell is at the lowest point in his life, making a sequel to CaveAlien, the crappiest film in his crappy career. About to fire his agent (Ted Raimi, brother of Evil Dead and Spider-Man director Sam), Bruce is lulled into a false hope that his agent has bigger and better things in store for him when he’s told a big “surprise” awaits him on his birthday. Shortly thereafter, Bruce is approached by Jeff (Taylor Sharpe), a teenager who tries to convince him to come to the small town of Gold Lick, which is being menaced by a vengeful Chinese demon/warrior god named Guan-di (played by James Peck, and based on the actual legendary Chinese warrior/deity Guan Yu). When Bruce refuses, Jeff abducts him.

Finally let out of Jeff’s car trunk, Bruce is at first ready to sue the townsfolk, until he catches a glimpse of Jeff’s hottie mom, Kelly (Grace Thorsen). Thinking this whole Guan-di thing might be a more upscale flick set up by his agent (and very much wanting to get into Kelly’s pants), Bruce decides to play along…little knowing the menace of Guan-di is very real, and that the townsfolk–identifying him a bit too closely with his kick-ass Evil Dead character Ash–expect him to face down the warrior deity and save their town.

My Name Is Bruce proudly displays its B-movie pedigree on its sleeve–the blatant fake background behind cars when they drive, the obvious dummies attempting to pass for beheaded corpses, the fact that teenagers seeking sexual congress in graveyards are distinct wrongdoers who must be punished–and is more of a fun ride for it. In some ways, it has no choice: shot for a budget of just $1.5 million, and having its widest release in only four theaters (thus amassing not even $200,000 as of this writing), the guerilla-style nature which Campbell as director (he also produced the film) was forced to employ would do Ed Wood proud…and believe me, in this case that’s actually a compliment. (more…)