I think season 1 might have been more consistent, but this episode is better than any previous one overall. Every sketch is funny, but I was in physical pain from laughing at the Driver's Ed video. The Claire's piece took the additional step of being quite moving from a bizarre angle (the ice cream lie and baby/people can change sketches pull this off also). Such a great show.
Reviews
15 Reviews
Perfect Episode- Dark, Funny, Surprising
13 June 2021
Observe and Report
(2009)
An Inventive and Entertaining Comedy
5 April 2009
Warning: Spoilers
The preview screening of Observe and Report I attended last night was a well-spent 2 hours. The set-up: Seth Rogen plays a shopping mall head of security who takes his job a little too seriously. When a flasher makes a spree through the mall's parking lot, and a robbery takes place a couple of days later, Rogen feels duty-bound to find criminal/s responsible. He becomes territorial when veteran detective Ray Liotta begins investigating the two crimes, and unwittingly makes an ass of himself trying to show him up. He also gains the confidence to pursue his dream girl, cosmetics associate Anna Farris (a hilarious supporting role, rather than the co-lead the marketing suggests). But it seems that the harder Rogen tries the worse things get for him.
Visually, sophomore director Jody Hill shows a Wes Anderson influence on occasion; the takes are shorter, cuts more frequent, but there are a lot of stationery shots, and a bright, pleasant color palette. The pacing of the movie is excellent, the jokes intrinsic to the forward movement of the narrative, moving along at a chuckle-a-minute pace.
The humor will certainly not be to everyone's taste. This is a nihilistic comedy. The supporting players provide some reliable laughs, but there is not a set-up-punchline format to guide viewers through. And Rogen is dragged through the mud quite a bit, largely through his own oblivious behavior. It is a little painful at times, but the more Rogen is dragged down, the more engaging the character becomes. By the end of the film, I knew a Hollywood ending not forthcoming. It seemed the only plausible outcome was something depressing and ugly, and any kind of happy conclusion for the protagonist would ring of inauthenticity. I was wrong, it turns out. The closing scenes are gut-busting and satisfying, and in keeping with the overall feeling of the movie.
I stop short of calling it groundbreaking, but Observe and Report has a much fresher and more original feel to it than most studio comedies. I recommend it whole-heartedly.
Visually, sophomore director Jody Hill shows a Wes Anderson influence on occasion; the takes are shorter, cuts more frequent, but there are a lot of stationery shots, and a bright, pleasant color palette. The pacing of the movie is excellent, the jokes intrinsic to the forward movement of the narrative, moving along at a chuckle-a-minute pace.
The humor will certainly not be to everyone's taste. This is a nihilistic comedy. The supporting players provide some reliable laughs, but there is not a set-up-punchline format to guide viewers through. And Rogen is dragged through the mud quite a bit, largely through his own oblivious behavior. It is a little painful at times, but the more Rogen is dragged down, the more engaging the character becomes. By the end of the film, I knew a Hollywood ending not forthcoming. It seemed the only plausible outcome was something depressing and ugly, and any kind of happy conclusion for the protagonist would ring of inauthenticity. I was wrong, it turns out. The closing scenes are gut-busting and satisfying, and in keeping with the overall feeling of the movie.
I stop short of calling it groundbreaking, but Observe and Report has a much fresher and more original feel to it than most studio comedies. I recommend it whole-heartedly.
Synecdoche, New York
(2008)
Death Be Not Proud
24 November 2008
Synecdoche, New York is a ridiculous, absurd, and funny film. It is a disturbing, scary and depressing film. If you go into it with an open mind, it can be all of these things, sometimes at the same time.
Caden Cotard (Phillip Seymour-Hoffman), is a theatre director living in Schenactady, NY. He's directing a regional production of Death of a Salesman with younger actors playing all of the roles. He is vaguely unhappy. His wife, Adele (Catherine Keener) is an artist. She is preparing for a show in Berlin. She ends up taking their 4-yr. old daughter and leaving Caden. He is depressed. He gets a MacArthur fellowship and uses it to rent a warehouse and start up an experimental theatre production involving actors that's going to represent real life by being "brutal and honest." He is also sick and going through a constant stream of medical examination that is more Kafka-esquire than sex with Woody Allen. He might be dying.
Does that sound boring? Well, it's not. Bizarre things happen, fascinating ideas are explored, wonderful dialogue is spoken, and everything unfolds in a deliberate, steady pace. The less you know about the actual story, the better.
This is an incomplete review, because I honestly can't think of way to explain or qualify the experience, except to say that I was completely engaged mentally and emotionally, and left the theatre with a big smile on my face, and my mind reeling.
Caden Cotard (Phillip Seymour-Hoffman), is a theatre director living in Schenactady, NY. He's directing a regional production of Death of a Salesman with younger actors playing all of the roles. He is vaguely unhappy. His wife, Adele (Catherine Keener) is an artist. She is preparing for a show in Berlin. She ends up taking their 4-yr. old daughter and leaving Caden. He is depressed. He gets a MacArthur fellowship and uses it to rent a warehouse and start up an experimental theatre production involving actors that's going to represent real life by being "brutal and honest." He is also sick and going through a constant stream of medical examination that is more Kafka-esquire than sex with Woody Allen. He might be dying.
Does that sound boring? Well, it's not. Bizarre things happen, fascinating ideas are explored, wonderful dialogue is spoken, and everything unfolds in a deliberate, steady pace. The less you know about the actual story, the better.
This is an incomplete review, because I honestly can't think of way to explain or qualify the experience, except to say that I was completely engaged mentally and emotionally, and left the theatre with a big smile on my face, and my mind reeling.
The Midnight Meat Train
(2008)
A Good Ride
1 August 2008
Warning: Spoilers
I saw this movie just now at a local discount theater, and I certainly can't say that I wanted my dollar back. The worst thing a horror film can be is boring, and Midnight Meat Train is never dull. Neither is it quite as exciting or tense as would be ideal, but you take what you can get.
Based on Clive Barker's classic short story, the film is about photographer Leon (Bradley Cooper), who wants to capture on film the "true" New York City. He has to sell photos of crimes and accidents to tabloids for money, though. He is given a meeting with a legendary art dealer (Brooke Shields), and accepts her advice to explore individual places more closely, in hopes of finding the image that impresses her and gets him a break in the art world.
He ends up encountering strange doings during late-night subway rides, and becomes obsessed with a silent, severe butcher (Vinnie Jones) who bludgeons passengers to death on a regular basis.
The movie works mainly because of its director. Ryuhei Kitamura might be the best visual stylist working in the horror genre. The scenes of suspense, intrigue, and horror are all inventively shot, while never distracting from what's actually going on. His timing of scares, however, could use some work. Jeff Buhler's script has quality dialog, good pacing, and is generally efficient.
The greatest weakness of the film is its lead actor. Cooper lacks the charisma and intensity necessary to involve the audience fully in Leon's descent into the underworld.
But I said before, it is never boring. The time passes easily, blood flows freely, but only when it needs to, and it is a joy to look out. It deserved a much wider and better promoted release, and is certainly worth seeking out.
Based on Clive Barker's classic short story, the film is about photographer Leon (Bradley Cooper), who wants to capture on film the "true" New York City. He has to sell photos of crimes and accidents to tabloids for money, though. He is given a meeting with a legendary art dealer (Brooke Shields), and accepts her advice to explore individual places more closely, in hopes of finding the image that impresses her and gets him a break in the art world.
He ends up encountering strange doings during late-night subway rides, and becomes obsessed with a silent, severe butcher (Vinnie Jones) who bludgeons passengers to death on a regular basis.
The movie works mainly because of its director. Ryuhei Kitamura might be the best visual stylist working in the horror genre. The scenes of suspense, intrigue, and horror are all inventively shot, while never distracting from what's actually going on. His timing of scares, however, could use some work. Jeff Buhler's script has quality dialog, good pacing, and is generally efficient.
The greatest weakness of the film is its lead actor. Cooper lacks the charisma and intensity necessary to involve the audience fully in Leon's descent into the underworld.
But I said before, it is never boring. The time passes easily, blood flows freely, but only when it needs to, and it is a joy to look out. It deserved a much wider and better promoted release, and is certainly worth seeking out.
Chaos Theory
(II) (2007)
A Rarity
16 July 2008
Chaos Theory is a well-acted comedy that delivers laughs a the right moments while weaving an endearing tale. It never achieves greatness, but it is enjoyable throughout.
Frank Allen (Ryan Reynolds) is a professional speaker who lectures on time management, and his life is perfectly ordered and scheduled, down to the minute. When his wife (Emily Mortimer) sets his clock forward 10 minutes as a joke, his day is thrown off. When he ends up late for an out-of-town lecture, things go awry. A couple of miscommunications leads his wife to question his fidelity, and he ends up making a discovery that causes him to have his own doubts about his family life. Deciding that his strictly ordered life has done him little good, he begins to make multiple choice index cards, choosing one at random and doing what is written on the card.
Reynolds is a very under-appreciated talent, and his work in this film is spot-on. Stuart Townsend gives a strong performance as Frank's best friend, and Matreya Fedor has some great moments as Frank's 7-year old daughter. Sarah Chalke shows up briefly in an interesting role, but she isn't given that much to work with.
The movie is story is well-structured and not entirely predictable, and the pacing and timing are great. The flaw of the film, though, is the third act, which was a little over-the-top for my taste.
But it is a smart and pleasant film overall, perfect for a rental.
Frank Allen (Ryan Reynolds) is a professional speaker who lectures on time management, and his life is perfectly ordered and scheduled, down to the minute. When his wife (Emily Mortimer) sets his clock forward 10 minutes as a joke, his day is thrown off. When he ends up late for an out-of-town lecture, things go awry. A couple of miscommunications leads his wife to question his fidelity, and he ends up making a discovery that causes him to have his own doubts about his family life. Deciding that his strictly ordered life has done him little good, he begins to make multiple choice index cards, choosing one at random and doing what is written on the card.
Reynolds is a very under-appreciated talent, and his work in this film is spot-on. Stuart Townsend gives a strong performance as Frank's best friend, and Matreya Fedor has some great moments as Frank's 7-year old daughter. Sarah Chalke shows up briefly in an interesting role, but she isn't given that much to work with.
The movie is story is well-structured and not entirely predictable, and the pacing and timing are great. The flaw of the film, though, is the third act, which was a little over-the-top for my taste.
But it is a smart and pleasant film overall, perfect for a rental.
Meet Bill
(2007)
Pretty Terrible
14 July 2008
Meet Bill is a bad film. There is no way around it. Aaron Eckhart, who was amazing in Thank You For Smoking, seems to be attempting a Jim Carrey-style comedic performance, and it doesn't work at all. His performance as an obnoxious, petty, immature 40-something is unpleasant to watch. It is not entertaining or funny, just uncomfortable. The plot is pretty simple: Bill is working for his father-in-law at a very successful bank and is unhappy; his wife cheats on him, things fall apart.
The other characters seem to exist just to help Bill find out who he really is or something like that. Jessica Alba is one of these. She plays a cashier at a Victoria's Secret who befriends Bill and his young mentee. She doesn't really put any effort into her role, but I don't blame her because her character was wildly underdeveloped. She has no real motivation in the film- she's just there to help Bill regain his confidence. Young actor Logan Lerman plays Bill's mentee- a private school kid with a bottomless allowance, a disturbing infatuation with Alba's character, and an inexplicable desire to spend all of his time with Bill. Craig Bierko plays Bill's gay brother, who sits around trying to talk sense to him and does little else.
Elizabeth Banks is OK as Bill's wife, and it is perhaps the only redeeming quality of the film that she is not completely villainized. The only highlight if the film comes in the form if Kristen Wiig and Jason Sudeikis of the current SNL cast, who plays representatives of a donut franchise Bill is trying to get involved with.
The script is aimless, the dialog horrible, and the conclusion completely unsatisfying. I really wished I hadn't watched this movie by the time it ended.
The other characters seem to exist just to help Bill find out who he really is or something like that. Jessica Alba is one of these. She plays a cashier at a Victoria's Secret who befriends Bill and his young mentee. She doesn't really put any effort into her role, but I don't blame her because her character was wildly underdeveloped. She has no real motivation in the film- she's just there to help Bill regain his confidence. Young actor Logan Lerman plays Bill's mentee- a private school kid with a bottomless allowance, a disturbing infatuation with Alba's character, and an inexplicable desire to spend all of his time with Bill. Craig Bierko plays Bill's gay brother, who sits around trying to talk sense to him and does little else.
Elizabeth Banks is OK as Bill's wife, and it is perhaps the only redeeming quality of the film that she is not completely villainized. The only highlight if the film comes in the form if Kristen Wiig and Jason Sudeikis of the current SNL cast, who plays representatives of a donut franchise Bill is trying to get involved with.
The script is aimless, the dialog horrible, and the conclusion completely unsatisfying. I really wished I hadn't watched this movie by the time it ended.
The Good Night
(2007)
Good for Impatient Kaufman Fans
9 June 2008
I'm a major Charlie Kaufman fan, enough so that I am willing to see other filmmakers lightly tread the territory he has mastered while waiting for his next masterpiece. Zach Helms' script for Stranger Than Fiction (8/10) is the rom-com answer to the theme of art and reality being interchangeable, as expressed also in Adaptation (9/10). Jake Paltrow's The Good Night is an indie-dramedy look at the subconscious vs. reality theme CK nails in Malkovich and Eternal Sunshine (both 10/10).
This film tells the story of Gary (Martin Freeman), a 30 something ex-rocker scoring commercials in New York. His stagnant relationship with an art-dealer girlfriend (Gwynneth Paltrow) and his complicated, brotherly friendship with an egotistical ex-bandmate and boss (Simon Pegg) give him little fulfillment. So he turns to a lucid dreams with an exotic dream girl (Penelope Cruz). But when both the dreams and his real life seem to unravel, he struggles to fix both.
The story is certainly not innovative, but it is well-developed, and the characters are interesting enough. The movie feels very authentic and sincere, which makes it worth sitting through. Jake Paltrow is not a particularly inventive director, but the camera-work is generally competent and the dream sequences are nicely photographed.
The real highlights of the film are the subtle supporting performances by director's sister Gwen and the brilliant Simon Pegg. Freeman's role is pretty typical of his other work, but he carries the movie reasonably well. Devito and Cruz are both dull and distracting in their roles. It would have been better if their parts had been given to lesser-known actors who would have cared more about the production.
A rental of this movie is certainly worth 90 minutes of your evening.
This film tells the story of Gary (Martin Freeman), a 30 something ex-rocker scoring commercials in New York. His stagnant relationship with an art-dealer girlfriend (Gwynneth Paltrow) and his complicated, brotherly friendship with an egotistical ex-bandmate and boss (Simon Pegg) give him little fulfillment. So he turns to a lucid dreams with an exotic dream girl (Penelope Cruz). But when both the dreams and his real life seem to unravel, he struggles to fix both.
The story is certainly not innovative, but it is well-developed, and the characters are interesting enough. The movie feels very authentic and sincere, which makes it worth sitting through. Jake Paltrow is not a particularly inventive director, but the camera-work is generally competent and the dream sequences are nicely photographed.
The real highlights of the film are the subtle supporting performances by director's sister Gwen and the brilliant Simon Pegg. Freeman's role is pretty typical of his other work, but he carries the movie reasonably well. Devito and Cruz are both dull and distracting in their roles. It would have been better if their parts had been given to lesser-known actors who would have cared more about the production.
A rental of this movie is certainly worth 90 minutes of your evening.
Typical Sandler
3 June 2008
There are those who will see Judd Apatow's name on the writing credits and expect something better than the usual Adam Sandler oeuvre. This, let me warn you, is a set-up for disappointment.
I went through a period of heavy admiration for his work when I was at the target age (12-15). But this is the first Sandler flick I've seen since Anger Management, and not much has changed since that movie came out four years ago. The jokes are juvenile and over-the- top, SNL alums show up in cameos at random, and the story-line is secondary to beating running gags to death.
I admit that I really enjoyed the movie for about thirty minutes: the laughs came consistently, there was a lot of over-the-top action, and as well as partially witty dialog. But the whole thing went stale as it developed tried to develop a love story between Sandler and a Palestinian salon owner.
Another thing that bothered me is the disregard for the realities of the Israeli-Palestinian conflict. I'm not one to expect political commentary in even the dumbest of comedies, but an entire film that touches hot-button issue should offer something in addition to big-penis jokes. Couldn't they have taken a page from South Park's book?
The climax was more in tune with opening: lots of silly action, and some empty laughs. But it wasn't good enough to make me forgive the tedious and overlong second act.
I went through a period of heavy admiration for his work when I was at the target age (12-15). But this is the first Sandler flick I've seen since Anger Management, and not much has changed since that movie came out four years ago. The jokes are juvenile and over-the- top, SNL alums show up in cameos at random, and the story-line is secondary to beating running gags to death.
I admit that I really enjoyed the movie for about thirty minutes: the laughs came consistently, there was a lot of over-the-top action, and as well as partially witty dialog. But the whole thing went stale as it developed tried to develop a love story between Sandler and a Palestinian salon owner.
Another thing that bothered me is the disregard for the realities of the Israeli-Palestinian conflict. I'm not one to expect political commentary in even the dumbest of comedies, but an entire film that touches hot-button issue should offer something in addition to big-penis jokes. Couldn't they have taken a page from South Park's book?
The climax was more in tune with opening: lots of silly action, and some empty laughs. But it wasn't good enough to make me forgive the tedious and overlong second act.
What's wrong with being different?
28 May 2008
Warning: Spoilers
This episode, as far as tone goes, is pitch perfect. It is not raucously funny throughout, like many of the great South Park episodes, but the laughs that are there are great. ("Britney was spotted with a new no-top-of-my-head look as she was being wheeled into the hospital for some reason.")
But this episode is rare, because it is a well-told, well-executed story. You actually get into the boys' plight as they try to help Britney, you feel their guilt as Britney shoots herself. You may laugh at Brintey trying to sing and talk without the top of her head, but it makes a profound statement on the absurdity of the celebrity industry (tabloids, pop music, E! network, reality TV, etc.)
And the twist of Britney being set up for human sacrifice, and the scene with the photographers enclosing her, snapping pictures until she just died- that was thought- provoking.
But the ending was no departure- it was a classic South Park closer, which I won't mention just in case some who haven't seen the episode read past the spoiler alert. (If that's the case, get online and see it!)
This is, currently, the second-lowest South park episode. I think that this is unfortunate. If I were to rank them, this would fall somewhere between 10 and 15 on my favorites list.
But this episode is rare, because it is a well-told, well-executed story. You actually get into the boys' plight as they try to help Britney, you feel their guilt as Britney shoots herself. You may laugh at Brintey trying to sing and talk without the top of her head, but it makes a profound statement on the absurdity of the celebrity industry (tabloids, pop music, E! network, reality TV, etc.)
And the twist of Britney being set up for human sacrifice, and the scene with the photographers enclosing her, snapping pictures until she just died- that was thought- provoking.
But the ending was no departure- it was a classic South Park closer, which I won't mention just in case some who haven't seen the episode read past the spoiler alert. (If that's the case, get online and see it!)
This is, currently, the second-lowest South park episode. I think that this is unfortunate. If I were to rank them, this would fall somewhere between 10 and 15 on my favorites list.
The Man from Elysian Fields
(2001)
Pretentious and Useless
24 May 2008
Do you feel that films about novelists are inherently intelligent, and that watching them makes you better than those who watch "Hollywood garbage" that "shoved down our throats"? Does a pre-requisite for your favorite independent films involve no one ever having really heard of them?
In that case, this is your movie. For the remaining 98.6% of the film-watching population: don't waste your time.
The story is of a struggling writer whose critically acclaimed thriller about Hitler's secret progeny never quite took off. But he and his hyper-supportive wife quote the reviews to each other during sex (oh, wait I get it! Critics are prostituting themselves to the writers they admire: that's f-ing deep!)
His next novel is about migrant workers, and it's apparently depressing. We learn this because his thick publisher explains that people riding buses to work don't want to read those kinds of downers. Since when are low-income commuters a key demographic for literary fiction?
So he inexplicably becomes an escort, with Mick Jagger as his pimp. This is not nearly as amusing as it sounds. In fact, it's all very serious and ironic, and oh so very f-ing deep.
The plot continues to take ridiculous, illogical turns. The farther you get in the plot, the less removed you are from reality.
When it comes down to it, the screenplay is probably among the worse ever produced.
In that case, this is your movie. For the remaining 98.6% of the film-watching population: don't waste your time.
The story is of a struggling writer whose critically acclaimed thriller about Hitler's secret progeny never quite took off. But he and his hyper-supportive wife quote the reviews to each other during sex (oh, wait I get it! Critics are prostituting themselves to the writers they admire: that's f-ing deep!)
His next novel is about migrant workers, and it's apparently depressing. We learn this because his thick publisher explains that people riding buses to work don't want to read those kinds of downers. Since when are low-income commuters a key demographic for literary fiction?
So he inexplicably becomes an escort, with Mick Jagger as his pimp. This is not nearly as amusing as it sounds. In fact, it's all very serious and ironic, and oh so very f-ing deep.
The plot continues to take ridiculous, illogical turns. The farther you get in the plot, the less removed you are from reality.
When it comes down to it, the screenplay is probably among the worse ever produced.
Not Worth the Time Investment
18 January 2006
This film is not worth your time. I watched it when it premiered on TV out of a lack of anything better to do. And I remember thinking very clearly that the lead actress was strikingly attractive, but a very weak actress. Since then, Keira Knightley has proved that my initial impression might was far too hasty. In fact, her performance in Pride & Prejudice is absolutely Oscar-worthy. But her performance is not worth sitting through this mess. It is a weakly conceived, cheaply made film, and has none of the inherent pleasure of the original Robin Hood legends. The acting is, without exception, overwrought. And many of the scenes are simply painful in memory (like the bad-guy speech right when he is prepared to kill an aging Robin, which gives the secondary hero an opportunity to regain his sword. Are writers never going to tire of that scene?) Robin Hood enthusiasts and Knoightley fans alike should pass this one over.
Beef Baloney
(2003– )
Funny Local Comedy
27 November 2004
Many Tulsans had the opportunity to see this sketch comedy show
during its one-season run on our local Fox affiliate. It was
marvelously quirky , irrelevant, and laugh-out-loud funny. There
was wit in the dry performances of Matt Zaller, and plenty of
irreverent gross-out comedy in all the other performances. They
even produced commercials for local businesses and programs
that were mildly amusing. Local television foes not get a whole lot better than "Beef Baloney,"
and it most likely never will. I certainly the gets back on the air, or that the cast moves on to
better things.
during its one-season run on our local Fox affiliate. It was
marvelously quirky , irrelevant, and laugh-out-loud funny. There
was wit in the dry performances of Matt Zaller, and plenty of
irreverent gross-out comedy in all the other performances. They
even produced commercials for local businesses and programs
that were mildly amusing. Local television foes not get a whole lot better than "Beef Baloney,"
and it most likely never will. I certainly the gets back on the air, or that the cast moves on to
better things.
A Fine Performance
18 November 2004
This updated version of Lorraine Hansbury's classic is a masterpiece of filmed drama. Rather than attempting to look like a film, it is shot entirely on a theatrical set, without any kind of special editing, thus giving it the feel of a play. This gives the actors and Hansbury's words all of the spotlight, and they work so well together. Danny Glover gives a stunning performance as Walter Younger, capturing all the idealism and naivité of the chararacter and combining them with his astute racial awareness. Starletta DuPois is very subdued as Ruth, but all the pent-up emotions and inner-conflict are gloriously apparent nonetheless. Esther Rolle simply has a vast authority as Mama, dominating the screen at every turn without overdoing anything. My only qualms were with the occasional exaggerations of Kim Yancey as the baby sister of the family and Lou Ferguson's unwaveringly simple spouting of Asagai's lines. But these do not bring the film down very far. 9/10
Ponette
(1996)
Wonderful, Thoughtful, Innovative.
8 August 2004
I love everything about this film. The cast portrayed their characters well; the script presented a variety of philosophical viewpoints; and many of the interactions between the children were symbolic of religion in the adult world. Those who would be thrown off by this sort of a thing should not worry, because there are plenty of sweet moments and a very satisfying ending. And I must say that that little girl's performance was utterly stunning. Amazingly enough, she was four years old during filming. I would recommend it to anyone with a brain or a heart.
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