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Awix (3310 KP) rated The Magic Christian (1969) in Movies
Apr 11, 2020
Laborious satire proves that no matter how good your cast is, it can't save a film with a lousy script. Subversive multi-millionaire Guy Grand (Sellers) and his adopted son (Ringo) embark on a series of lavish practical jokes to demonstrate the venality of western society. Basically a series of too-contrived-to-be-funny sketches clumsily making fun of the sacred cows of British society in particular.
Some people (Paul Merton for one) would have you suggest that The Magic Christian has a reputation as a bad movie because it ridicules things the establishment holds dear (the boat race, high art, grouse shooting, etc). This is not true: it has a reputation as a bad movie because it is a bad movie, clumsy, smug, and not nearly as insightful as it seems to think it is. The main reason for watching is the cast list, which is eye-opening, although how well the various cameoing stars emerge tends to be in inverse proportion to the size of their role. One of those films that proves the swinging sixties weren't all that great.
Some people (Paul Merton for one) would have you suggest that The Magic Christian has a reputation as a bad movie because it ridicules things the establishment holds dear (the boat race, high art, grouse shooting, etc). This is not true: it has a reputation as a bad movie because it is a bad movie, clumsy, smug, and not nearly as insightful as it seems to think it is. The main reason for watching is the cast list, which is eye-opening, although how well the various cameoing stars emerge tends to be in inverse proportion to the size of their role. One of those films that proves the swinging sixties weren't all that great.
Awix (3310 KP) rated The Square (2017) in Movies
Jun 30, 2020
Another of those occasions where the Smashbomb rating scale falls a little short: 'shoddy' isn't how I'd describe this film as much as fundamentally somewhat misconceived. Anyway: award-winning satire of liberal pretensions and angst set in and around a Stockholm art gallery. Curator Christian gets mugged, leading him to make some very poor decisions; various installations and performances go horribly wrong; the gulf between the high-minded aspirations of the museum's patrons and their actual behaviour is repeatedly exposed.
The odd quite funny and on-point scene, but it doesn't half labour its points and at nearly two and half hours it feels much too long (I watched it in installments, which I never normally do). Bang is pretty good in the central role and the thesis of the film is certainly relevent to the modern world, but it could have been funnier, sharper, and less irritatingly weird in places. As it is, this is a film satirising pretentiousness which actually feels rather pretentious itself - so not a great look. Hard work, if you ask me,
The odd quite funny and on-point scene, but it doesn't half labour its points and at nearly two and half hours it feels much too long (I watched it in installments, which I never normally do). Bang is pretty good in the central role and the thesis of the film is certainly relevent to the modern world, but it could have been funnier, sharper, and less irritatingly weird in places. As it is, this is a film satirising pretentiousness which actually feels rather pretentious itself - so not a great look. Hard work, if you ask me,
Georgia Hubley recommended The Discreet Charm of the Bourgeoisie (1972) in Movies (curated)
Awix (3310 KP) rated The Producers (1967) in Movies
Jul 9, 2021
Relentless knockabout bad-taste farce from Mel Brooks. A corrupt theatrical producer and his accountant embark upon a scheme to fraudulently make a fortune by mounting the worst play in history. Promising idea, and the brilliantly-staged opening number from Springtime for Hitler (all dancing SS officers and goose-stepping showgirls) is inspired, but the rest of the film struggles to meet the same standards.
The movie feels like a frenetic mixture of old-fashioned vaudeville and scatter-gun satire; there was probably something curiously dated about it even fifty-odd years ago. While it does acknowledge the counter-culture of the 60s (there's a hippy beatnik character, amongst other things), it doesn't feel like it was made by or for a young audience. Viewers nowadays may not be troubled by deliberately provocative jokes about Hitler or over-sexed pensioners, but jokes about dumb blondes in bikinis and camp transvestites feel a bit uncomfortable. Passes the time amiably, and worth watching just to see Springtime for Hitler in context, but I'd struggle to call it an actual classic.
The movie feels like a frenetic mixture of old-fashioned vaudeville and scatter-gun satire; there was probably something curiously dated about it even fifty-odd years ago. While it does acknowledge the counter-culture of the 60s (there's a hippy beatnik character, amongst other things), it doesn't feel like it was made by or for a young audience. Viewers nowadays may not be troubled by deliberately provocative jokes about Hitler or over-sexed pensioners, but jokes about dumb blondes in bikinis and camp transvestites feel a bit uncomfortable. Passes the time amiably, and worth watching just to see Springtime for Hitler in context, but I'd struggle to call it an actual classic.
LoganCrews (2861 KP) rated Anchorman 2: The Legend Continues (2013) in Movies
Sep 21, 2020
On par with the first movie, with the added benefit of looking like an actual film production and not a basement eyesore. Maintains the loose schema but ups the joke consistency and jovial absurdity at least five, maybe ten-fold. So if you had to pull me on it, I'd say this one is better. My biggest quibble is that it needed to shave off around fifteen minutes, and truthfully I have less qualms about the actual length as opposed to the steam all but fizzling out in the last act. Also helps that this leans much more into its setting and subject matter, aiming for some admittedly broad satire but no less accurate. A way better comedy movie let alone sequel than it has any right to be, and you all scared McKay away to mostly dull-arrowed political farces because he had the heart to offer us this. For shame. Funny as fuck most of the time, and I just love how lived-in and learned these performances are by actors who know their characters inside and out.
RəX Regent (349 KP) rated Team America: World Police (2004) in Movies
Feb 19, 2019
AMERICA! F**K YEAH!
The theme’s lyrics sum up this movie as well as any could have. Made in the midst of the War On Terror in 2004, a satire was needed and who better to provide one than the satirical genius’ Trey Parker and Matt Stone, best known for South Park. On the surface, this looks like a straight forward bawdy adult puppet parody, taking the mickey out of Bruckheimer’s blockbusters, Thunderbirds and the reputation being acquired by the U.S. over the past 30 years but reaching boiling point over the last decade, certainly in a post 9/11 world.But that’s just the tip of the iceberg.
This is looking into every major aspect of the above, such as chauvinism, the political interference and undue, and sometimes dangerous influence of celebrities, summed up here with the Film Actor’s Guild (or F.A.G.) with a host of major film stars ripped off, notably upsetting Sean Penn.
The infamous puppet sex scene, which is nothing more than a poke, pardon the pun, at the puppetry employed in the film.But there’s so much more such as the excellent selection of bespoke songs, such as “Only A Woman” for the sex scene, “End Of An Act” as our hero leaves the group to wallow in self-pity to the song with features verse after verse nothing more than slagging off Michael Bay’s, Pearl Harbor and Ben Afleck! But for a film with criticises these blockbusters, it understands them too well to be truly nasty about them.
The entire film IS a well made Bruckheimer film, even recruiting one of his regular composers, Harry Gregson-Williams, to be in at the last-minute, to compose a great score, but why do this if they hated it so much? They don’t; they love these films and the affection for the genre is clear, making their digs enjoyable and not hurtful… There’s even a contradiction with the political tract as one hand this would seem to be an anti-American tome where Team America blow up every city and landmark imaginable in order to protect the world from the destruction of the Terrorists… Get it?
On the other, the song entitled “Freedom Isn’t Free” would seem to suggest that we should all do our part, even though this number ends with the line, “Freedom cost a buck o’five…” But then after all the political and social satire, and the spoofing of Hollywood’s gung-ho films, it’s just a fun film.When the terrorist’s come from Derka Derkastan, the tone is clear. This is like a pair of boys playing “War On Terror” with a collection of action figures.
They’re clearly laughing hysterically as they write, produce and direct this film like two teenagers, as they create the highly insensitive language of the terrorists, use elements from films such as Star Wars and James Bond, certainly as for Kim Jong-il, is nobody safe, well not after offending the North Korean leader, but in all fairness, this is really just Eric Cartman from South Park.But in the end, this is the perfect satire, with a blend of real world political and social commentary, great spoofing but when all’s said and done, this has a great sense if humour, though at times, somewhat bawdy. This is brilliant and one of, if not the best comedy of the past decade, and one of the greatest satires of all time. And, no, I don’t believe that I’m over stating that…
This is looking into every major aspect of the above, such as chauvinism, the political interference and undue, and sometimes dangerous influence of celebrities, summed up here with the Film Actor’s Guild (or F.A.G.) with a host of major film stars ripped off, notably upsetting Sean Penn.
The infamous puppet sex scene, which is nothing more than a poke, pardon the pun, at the puppetry employed in the film.But there’s so much more such as the excellent selection of bespoke songs, such as “Only A Woman” for the sex scene, “End Of An Act” as our hero leaves the group to wallow in self-pity to the song with features verse after verse nothing more than slagging off Michael Bay’s, Pearl Harbor and Ben Afleck! But for a film with criticises these blockbusters, it understands them too well to be truly nasty about them.
The entire film IS a well made Bruckheimer film, even recruiting one of his regular composers, Harry Gregson-Williams, to be in at the last-minute, to compose a great score, but why do this if they hated it so much? They don’t; they love these films and the affection for the genre is clear, making their digs enjoyable and not hurtful… There’s even a contradiction with the political tract as one hand this would seem to be an anti-American tome where Team America blow up every city and landmark imaginable in order to protect the world from the destruction of the Terrorists… Get it?
On the other, the song entitled “Freedom Isn’t Free” would seem to suggest that we should all do our part, even though this number ends with the line, “Freedom cost a buck o’five…” But then after all the political and social satire, and the spoofing of Hollywood’s gung-ho films, it’s just a fun film.When the terrorist’s come from Derka Derkastan, the tone is clear. This is like a pair of boys playing “War On Terror” with a collection of action figures.
They’re clearly laughing hysterically as they write, produce and direct this film like two teenagers, as they create the highly insensitive language of the terrorists, use elements from films such as Star Wars and James Bond, certainly as for Kim Jong-il, is nobody safe, well not after offending the North Korean leader, but in all fairness, this is really just Eric Cartman from South Park.But in the end, this is the perfect satire, with a blend of real world political and social commentary, great spoofing but when all’s said and done, this has a great sense if humour, though at times, somewhat bawdy. This is brilliant and one of, if not the best comedy of the past decade, and one of the greatest satires of all time. And, no, I don’t believe that I’m over stating that…
BankofMarquis (1832 KP) rated The Menu (2022) in Movies
Nov 24, 2022
Puts the DARK in Dark Comedy
If a Film Comedy is Milk Chocolate and a Dark Comedy is Dark Chocolate, then the new film THE MENU (Directed by Mark Mylod - Game of Thrones) is the SPECIAL INTENSE (90%) Dark Chocolate of films.
And I mean that as a compliment.
Written by Seth Reiss and Will Tracy, THE MENU tells the tale of an exclusive, isolated restaurant, the 12 clients that head out to the secluded island this restaurant is on and the ego-maniacal, celebrity chef that runs this restaurant - and this dining experience. What starts out as a satire of these types of restaurants, the chefs and the hero-worship of it’s clientele turns into something much, much more sinister.
This is a film in 2 parts - the first part is a satire of the “Foodie” World with the dishes being somewhat absurd - and believable - as the attendees gush over the dishes, trying to interpret what they are being served and why. The 2nd half turns darker - as the real theme of the night emerges - but it is not the horror/slasher film that one is led to believe in the trailer, it is more of a psychological suspense thriller with some gore to accentuate the themes. (But make no mistake, there IS gore).
Ralph Fiennes (Voldemort in the Harry Potter films) is the perfect choice as the central figure in this film, Chef Slowik. He controls the screen by standing still and when he speaks and goes into action he pulls the audience - and his clientele - into his web.
Anya Tayor-Joy (THE QUEEN’S GAMBIT) is growing into an actress that is extremely interesting to watch on film and she more than holds her own up against Fiennes in their scenes together. She becomes just as much a force as he is.
The supporting characters in this adventure are interesting ranging from the always good John Leguzamo to Judith Light to Nicholas Hoult and Janet McTeer. They all flesh out characters that could have been just 2 dimensional background characters, but in the capable hands of these performers, they become much more.
Special notice needs to be made of Hong Chau (DOWNSIZING) as Chef Slowik’s main assistant. She pretty much holds down the center of the first part of this film (as we build up the entrance of Fiennes’ character) and she pulls it off with an understated strong performance.
Director Mylod treads an interesting line in THE MENU as he starts this film as a satire, moves it to a dark comedy fairly quickly and then moves it to a much darker place while still keeping the satiric and dark comedic tones as the more sinister things are happening. It’s a tightrope walk to be sure, and Mylod pulls it off.
It’s the type of film that will be difficult to find an audience for it is 2 types of films put together as one - and neither will totally satisfy hard-core fans - but for someone who is looking for an intelligent suspense film (with some gore and, again, let me emphasize that there IS gore) than this MENU will satisfy.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
And I mean that as a compliment.
Written by Seth Reiss and Will Tracy, THE MENU tells the tale of an exclusive, isolated restaurant, the 12 clients that head out to the secluded island this restaurant is on and the ego-maniacal, celebrity chef that runs this restaurant - and this dining experience. What starts out as a satire of these types of restaurants, the chefs and the hero-worship of it’s clientele turns into something much, much more sinister.
This is a film in 2 parts - the first part is a satire of the “Foodie” World with the dishes being somewhat absurd - and believable - as the attendees gush over the dishes, trying to interpret what they are being served and why. The 2nd half turns darker - as the real theme of the night emerges - but it is not the horror/slasher film that one is led to believe in the trailer, it is more of a psychological suspense thriller with some gore to accentuate the themes. (But make no mistake, there IS gore).
Ralph Fiennes (Voldemort in the Harry Potter films) is the perfect choice as the central figure in this film, Chef Slowik. He controls the screen by standing still and when he speaks and goes into action he pulls the audience - and his clientele - into his web.
Anya Tayor-Joy (THE QUEEN’S GAMBIT) is growing into an actress that is extremely interesting to watch on film and she more than holds her own up against Fiennes in their scenes together. She becomes just as much a force as he is.
The supporting characters in this adventure are interesting ranging from the always good John Leguzamo to Judith Light to Nicholas Hoult and Janet McTeer. They all flesh out characters that could have been just 2 dimensional background characters, but in the capable hands of these performers, they become much more.
Special notice needs to be made of Hong Chau (DOWNSIZING) as Chef Slowik’s main assistant. She pretty much holds down the center of the first part of this film (as we build up the entrance of Fiennes’ character) and she pulls it off with an understated strong performance.
Director Mylod treads an interesting line in THE MENU as he starts this film as a satire, moves it to a dark comedy fairly quickly and then moves it to a much darker place while still keeping the satiric and dark comedic tones as the more sinister things are happening. It’s a tightrope walk to be sure, and Mylod pulls it off.
It’s the type of film that will be difficult to find an audience for it is 2 types of films put together as one - and neither will totally satisfy hard-core fans - but for someone who is looking for an intelligent suspense film (with some gore and, again, let me emphasize that there IS gore) than this MENU will satisfy.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Bookapotamus (289 KP) rated Barrel Fever: Stories and Essays in Books
May 29, 2018
I'm a HUGE David Sedaris fan but this was not my favorite. This was written in 1994, his early years of being published, and he has definitely improved with age. He's still trying to find his voice and clearly we all know he does! "Me Talk Pretty One Day", "Naked", and "When You Are Engulfed in Flames" are proof of that.
"Santaland Diaries" is an exception - I give that 5 stars alone, his recollections about being a mall elf at Macy's are hysterical to say the least, and you glimpse true Sedaris wit and satire. If you want to read a better Sedaris book, that also includes "Santaland Diaries", read "Holidays on Ice" and it's also published there for your reading pleasure!
Some bits of these stories are fun and witty, but I found most a bit angry, a little disturbing in parts and somewhat tiresome. The immaturity in his early writing is definitely evident, but it's classic Sedaris at the root of the stories... and we know it only gets better from here. A true Sedaris fan should read it for sure either way.
"Santaland Diaries" is an exception - I give that 5 stars alone, his recollections about being a mall elf at Macy's are hysterical to say the least, and you glimpse true Sedaris wit and satire. If you want to read a better Sedaris book, that also includes "Santaland Diaries", read "Holidays on Ice" and it's also published there for your reading pleasure!
Some bits of these stories are fun and witty, but I found most a bit angry, a little disturbing in parts and somewhat tiresome. The immaturity in his early writing is definitely evident, but it's classic Sedaris at the root of the stories... and we know it only gets better from here. A true Sedaris fan should read it for sure either way.
Erika (17788 KP) rated Jojo Rabbit (2019) in Movies
Nov 2, 2019
I think my expectations were too high for this film. I love Taika Waititi's films, and @What We Do In The Shadows (2014) is one of my favorite movies.
The satire wasn't strong enough in my opinion, this film was very much JoJo's Bildungsroman. There's nothing wrong with that, but I feel like that should have been more prominent in the marketing. There was not enough of making fun of Nazis. Taika was amusing as (s)Hitler. Something that bothered me (which probably won't bother other people), was the amount of 'Heil Hitlers'; that phrase just creeps me out to my core.
An interesting observation made at the beginning of the film was that the fans of Hitler were very much like the crazed fans of the Beatles. The way it's shown is very interesting.
Rebel Wilson was annoying, and her character added nothing. The stupid lines she had should have been left on the cutting room floor. Same Rockwell was my favorite character, by far. The kid that played JoJo was also very good, and I hope he does more films.
Overall, worth a watch if you're a Taika fan, but I personally needed more ruthless teasing of Nazis.
The satire wasn't strong enough in my opinion, this film was very much JoJo's Bildungsroman. There's nothing wrong with that, but I feel like that should have been more prominent in the marketing. There was not enough of making fun of Nazis. Taika was amusing as (s)Hitler. Something that bothered me (which probably won't bother other people), was the amount of 'Heil Hitlers'; that phrase just creeps me out to my core.
An interesting observation made at the beginning of the film was that the fans of Hitler were very much like the crazed fans of the Beatles. The way it's shown is very interesting.
Rebel Wilson was annoying, and her character added nothing. The stupid lines she had should have been left on the cutting room floor. Same Rockwell was my favorite character, by far. The kid that played JoJo was also very good, and I hope he does more films.
Overall, worth a watch if you're a Taika fan, but I personally needed more ruthless teasing of Nazis.
Awix (3310 KP) rated Kin-dza-dza! (1986) in Movies
Apr 4, 2020
Soviet-era comedy-SF resembles a high-speed collision between Mad Max and The Hitch-Hiker's Guide to the Galaxy as directed by Terry Gilliam. Earthling Everymen are accidentally teleported to the post-apocalyptic dystopia of Pluk, where lower-caste citizens must wear bells in their noses, social status is determined by the colour of your trousers, and most of the local language translates as 'koo!' Can they persuade a couple of dodgy locals to help them get home?
Possibly a little bit slow and overlong, and many of the jokes are probably too understated, but the desolate alien world is well-realised on a low budget (special effects are sparingly used, but look good when they are) and the intricately ridiculous society of Pluk has been worked out in impressive detail. Hard to tell whether the satire is aimed at capitalist society or communist, but perhaps this is the point: life on Pluk may be unfair, arbitrary, and often unintelligible, but then isn't that true everywhere? Well-played, solidly scripted for the most part (end comes unravelled a bit), very watchable and entertaining.
Possibly a little bit slow and overlong, and many of the jokes are probably too understated, but the desolate alien world is well-realised on a low budget (special effects are sparingly used, but look good when they are) and the intricately ridiculous society of Pluk has been worked out in impressive detail. Hard to tell whether the satire is aimed at capitalist society or communist, but perhaps this is the point: life on Pluk may be unfair, arbitrary, and often unintelligible, but then isn't that true everywhere? Well-played, solidly scripted for the most part (end comes unravelled a bit), very watchable and entertaining.