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LoganCrews (2861 KP) rated Super Size Me 2: Holy Chicken (2017) in Movies
Sep 20, 2020
Absolutely hysterical, through sheer commitment and idiosyncrasy achieves the once impossible task of turning ๐๐ฐ๐ฐ๐ฅ, ๐๐ฏ๐ค. into a comedy. I do have a few gripes, one of which being that - since this is objectively more 'professionally-made' than most of his other works, it sort of lacks some of that personal quality which made a lot of Spurlock's docs so distinctive. But overall that's such a minor quibble because this is still just as eccentric. Also gets a bit deceptive towards the end, though even then the base claims it sets out to make are still objectively correct so not a huge issue. Certainly not the first film to tackle this subject and won't be the last either, but it's definitely the most enjoyable - still ripe with enlightening information (if not nearly as much as the first) and insane charisma. I find it endlessly intriguing to see Spurlock create this morbid pitch-black comedy/doc hybrid that acts as this absurd birthing video showing him help raise the monster (faux-healthy fast food hysteria) that he helped create. Also the parody restaurant he makes at the end is hilarious. For anyone else I'd say this "imagine (company)... but honest!" filmmaking is an easy target that sort of has no meaning anymore but naturally Morgan delivers the goods with his ever-watchable personality and trademark filmmaking so here it seems admittedly different. Really good. Better than Where in the ๐๐ฐ๐ณ๐ญ๐ฅ ๐ช๐ด ๐๐ด๐ข๐ฎ๐ข ๐๐ช๐ฏ ๐๐ข๐ฅ๐ฆ๐ฏ? and ๐๐ข๐ฏ๐ด๐ฐ๐ฎ๐ฆ, not as good as ๐๐ฉ๐ฆ ๐๐ณ๐ฆ๐ข๐ต๐ฆ๐ด๐ต ๐๐ฐ๐ท๐ช๐ฆ ๐๐ท๐ฆ๐ณ ๐๐ฐ๐ญ๐ฅ or the original ๐๐ถ๐ฑ๐ฆ๐ณ ๐๐ช๐ป๐ฆ ๐๐ฆ.
BankofMarquis (1832 KP) rated Young Frankenstein (1974) in Movies
Apr 20, 2020
My All Time Favorite Comedy
There are certain films that I can revisit time and time again and the effects of the film do not diminish for me and I would argue that they get better with age...and with repeated viewings.
Such is the case with Mel Brooks' Universal Horror film spoof/satire YOUNG FRANKENSTEIN from 1974. It is a work of comedic genius and features some of the most memorable characters in motion picture comedy history.
Co-Writen by Brooks and Gene Wilder, Directed by Brooks and starring Wilder, Marty Feldman, Peter Boyle, Teri Garr, Cloris Leachman and the great Madeline Kahn, this film sends up the black and white Universal Horror films of the 1930's not by making fun of them, but by lovingly recreating them and then exaggerating the scenes/circumstances.
Wilder is at his manic best as Dr. Frederick Frankenstein - the grandson of the original Frankenstein - who is brought to Transylvania and soon takes up his grandfather's work. He works through a controlled rage throughout the film until such times where the rage (and his hair) comes bursting forth in maniacal energy that is a comic tour-de-force.
He is surrounded by an outstanding collection of misfits, most notably Marty Feldman's servant/assistant Igor who is game for just about anything. Under-rated is the comedic performance of Teri Garr as Frankenstein's lab assistant Inga who not only has good looks ("what knockers") but can hold her own with Wilder and Feldman in a scene. Peter Boyle is earnest and scary and vulnerable (all at the same time) in his portrayal of "the Monster" who just wants to be understood - the "Puttin' on the Ritz" scene shows some fine comedic chops in an actor that up to this point had not really done comedy (his Emmy nominated work in EVERYONE LOVES RAYMOND is years in the future).
But it is the work of 2 female comediennes that drives this film to another level. Madeline Kahn as Frederick's fiance, Elizabeth, commands (and steals) every scene she is in while the inscrutable Cloris Leachman is deadpan perfection as castle housekeeper Frau Bleucher (horse whinny).
Director Brooks keeps the jokes coming at a fast a furious pace, but keeps the pace and the story going as well. This is much more than "just a collection of jokes" - it is a very good movie.
This film falls squarely in my "Top 10 All Time Favorite Films" - and my #1 comedy of all time.
Letter Grade: A+
10 stars (out of 10) and you can take that to the Bank(ofMarquis)
Such is the case with Mel Brooks' Universal Horror film spoof/satire YOUNG FRANKENSTEIN from 1974. It is a work of comedic genius and features some of the most memorable characters in motion picture comedy history.
Co-Writen by Brooks and Gene Wilder, Directed by Brooks and starring Wilder, Marty Feldman, Peter Boyle, Teri Garr, Cloris Leachman and the great Madeline Kahn, this film sends up the black and white Universal Horror films of the 1930's not by making fun of them, but by lovingly recreating them and then exaggerating the scenes/circumstances.
Wilder is at his manic best as Dr. Frederick Frankenstein - the grandson of the original Frankenstein - who is brought to Transylvania and soon takes up his grandfather's work. He works through a controlled rage throughout the film until such times where the rage (and his hair) comes bursting forth in maniacal energy that is a comic tour-de-force.
He is surrounded by an outstanding collection of misfits, most notably Marty Feldman's servant/assistant Igor who is game for just about anything. Under-rated is the comedic performance of Teri Garr as Frankenstein's lab assistant Inga who not only has good looks ("what knockers") but can hold her own with Wilder and Feldman in a scene. Peter Boyle is earnest and scary and vulnerable (all at the same time) in his portrayal of "the Monster" who just wants to be understood - the "Puttin' on the Ritz" scene shows some fine comedic chops in an actor that up to this point had not really done comedy (his Emmy nominated work in EVERYONE LOVES RAYMOND is years in the future).
But it is the work of 2 female comediennes that drives this film to another level. Madeline Kahn as Frederick's fiance, Elizabeth, commands (and steals) every scene she is in while the inscrutable Cloris Leachman is deadpan perfection as castle housekeeper Frau Bleucher (horse whinny).
Director Brooks keeps the jokes coming at a fast a furious pace, but keeps the pace and the story going as well. This is much more than "just a collection of jokes" - it is a very good movie.
This film falls squarely in my "Top 10 All Time Favorite Films" - and my #1 comedy of all time.
Letter Grade: A+
10 stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated David Brent: Life on the Road (2017) in Movies
Sep 29, 2021
A squirm-athon from beginning to end.
โLife on the Roadโ is a mockumentary sequel to the classic British version of the TV comedy โThe Officeโ (obviously later remade for the US market and featuring Steve Carell). Ricky Gervais played the ego-centric David Brent, a monster of a character who exercised what little control he had in his managerial role at a Slough paper company.
Here in โLife on the Roadโ we join Brent 15 years later where he has taken a rung or two down the career ladder and is working as a sales rep for Lavachem, a sanitary goods manufacturer, also based in Slough.
But Brent still harbours a dream of making it big in the rock world with his middle-of-the-road band called โForegone Conclusion (2)โ. Gathering around him his ethnic rapper โfriendโ Dom Johnson (Doc Brown) and a band of session musicians (who canโt stand him), Brent cashes in โseveral pensionsโ to fund a tour of the venues of Berkshireโฆ or at least, those that will give stage time over to a โshite bandโ. As the tour delivers predictably diminishing returns, and no record-company interest (at least, not in him) Brent is forced to face his inner demons and some uncomfortable truths.
Bringing TV comedy characters to screen is fraught with difficulty, and few have successfully done it. Even legends like Morecambe and Wise struggled with a series of lacklustre films. Perhaps in recent times Steve Cooganโs Alan Partridge has come closest with โAlan Partridge โ Alpha Papaโ and indeed there are a lot of similarities visible between Partridge and Brent: both have extreme ego issues and self-centredness. But there are significant differences as well, for while Partridge is just an irritatingly loud and obnoxious minor-celebrity Brent โ as this film makes much clearer โ has real mental illness.
Brent - the sun shines out of his earhole.
Brent โ the sun shines out of his earhole.
Is this therefore a comedy at all? Well, yes, but in a very black way. There are certainly moments of excellent humour, with the tattooing scene being a high-point. But the result of watching Brentโs progressive decline, with his nervous laugh as a constant โfingernails on chalk boardโ reminder of his insecurity, results in a level of audience squirming that is palpable. Everything he does is perverse, from describing in excruciating detail every song before singing it, to spending his money on multiple hotel rooms when every gig is within the County of Berkshire.
As a black comedy its important that it doesnโt outstay its welcome, and at 96 minutes it doesnโt. However, the film lacks the courage of its own dark convictions, and unnecessarily switches tack in the last reel to provide a degree of redemption for Brent. Whilst โsweetโ, it is also implausible given whatโs happened before and I would have suspected the interference of the director in lightening the mood of the writerโs original intent. However, as Gervais is both writer and director, there is no such excuse. Thatโs a shame.
So, in summary, an uncomfortable watch that aligns appropriately with the high squirm factor of the original TV show. Prepare to laugh, but feel a bit guilty in doing so.
Here in โLife on the Roadโ we join Brent 15 years later where he has taken a rung or two down the career ladder and is working as a sales rep for Lavachem, a sanitary goods manufacturer, also based in Slough.
But Brent still harbours a dream of making it big in the rock world with his middle-of-the-road band called โForegone Conclusion (2)โ. Gathering around him his ethnic rapper โfriendโ Dom Johnson (Doc Brown) and a band of session musicians (who canโt stand him), Brent cashes in โseveral pensionsโ to fund a tour of the venues of Berkshireโฆ or at least, those that will give stage time over to a โshite bandโ. As the tour delivers predictably diminishing returns, and no record-company interest (at least, not in him) Brent is forced to face his inner demons and some uncomfortable truths.
Bringing TV comedy characters to screen is fraught with difficulty, and few have successfully done it. Even legends like Morecambe and Wise struggled with a series of lacklustre films. Perhaps in recent times Steve Cooganโs Alan Partridge has come closest with โAlan Partridge โ Alpha Papaโ and indeed there are a lot of similarities visible between Partridge and Brent: both have extreme ego issues and self-centredness. But there are significant differences as well, for while Partridge is just an irritatingly loud and obnoxious minor-celebrity Brent โ as this film makes much clearer โ has real mental illness.
Brent - the sun shines out of his earhole.
Brent โ the sun shines out of his earhole.
Is this therefore a comedy at all? Well, yes, but in a very black way. There are certainly moments of excellent humour, with the tattooing scene being a high-point. But the result of watching Brentโs progressive decline, with his nervous laugh as a constant โfingernails on chalk boardโ reminder of his insecurity, results in a level of audience squirming that is palpable. Everything he does is perverse, from describing in excruciating detail every song before singing it, to spending his money on multiple hotel rooms when every gig is within the County of Berkshire.
As a black comedy its important that it doesnโt outstay its welcome, and at 96 minutes it doesnโt. However, the film lacks the courage of its own dark convictions, and unnecessarily switches tack in the last reel to provide a degree of redemption for Brent. Whilst โsweetโ, it is also implausible given whatโs happened before and I would have suspected the interference of the director in lightening the mood of the writerโs original intent. However, as Gervais is both writer and director, there is no such excuse. Thatโs a shame.
So, in summary, an uncomfortable watch that aligns appropriately with the high squirm factor of the original TV show. Prepare to laugh, but feel a bit guilty in doing so.
Bob Mann (459 KP) rated Black Panther (2018) in Movies
Sep 29, 2021
Black Ops.
There was a joke on the internet the other day that made me laugh and laugh. Virtually the only white people in โBlack Pantherโ are the Hobbit/LOTR stars Martin Freeman and Andy Serkisโฆ. they are the Tolkein white guys! Itโs actually getting to feel quite isolating as an โaverage white guyโ at the movies! After a plethora of #SheDo films about empowered women, now comes the first black-centred Marvel filmโฆ stuffed full of powerful women too!
The setting is the hidden African kingdom of Wakanda, where due to an abundance of a an all-powerful mineral called McGuffiniteโฆ so, sorry, Vibraniumโฆ the leaders have made their city a technological marvel and developed all sorts of ad tech to help the people keep their goats well and weave their baskets better (there are a few odd scenes in this film!). TโChalla (Chadwick Boseman) succeeds his father TโChaka (John Kani) to become the king and adopt the role of The Black Panther, being bestowed superhero powers by drinking a glass of Ribena.
But it emerges that TโChaka has a dark secret in the form of Eric Killmonger (Michael B Jordan, โCreedโ) who is determined to muscle in on the king-stuff. โIt never rains but it poursโ, and the whole of Wakandaโs secrets are in danger of being exposed by the antics of the vicious South African mercenary Ulysses Klaue (Andy Serkis, โWar For The Planet Of The Apesโ), trying to get his hands on vibranium to sell on to CIA operative Everett Ross (Martin Freeman, โThe Hobbit: The Battle of the Five Armiesโ, โThe Worldโs Endโ).
After โThor: Ragnarokโ, this is back to the more seriously-played end of the superhero spectrum: there are a few jokes but itโs not overtly played for comedy. Holding the film together are some sterling performances from the ensemble cast with Michael B Jordan very good as the villain of the piece. Adding to the significant black girl power in the film are Angela Bassett (โLondon Has Fallenโ) as the queen mother; Danai Gurira (โWonder Womanโ) as the leader of the Dora Milaje: the all-female kingโs guard; and Lupita Nyongโo (โ12 Years a Slaveโ, โStar Wars: The Force Awakensโ) as the spy and love interest Nakia. But the star performance for me, and one I found absolutely spot-on as a role model for young people, was Letitia Wright (โThe Commuterโ) as Shuri, the kingโs chief scientist. She is absolutely radiant, adding beauty, rude gestures and energy to every scene she is in.
Man of the moment Daniel Kaluuya (โGet Outโ) also adds to his movie-cred as a conflicted courtier.
On the white side of the shop Andy Serkis has enormous fun as Klaue and I really wanted to see more of his character than I did. Martin Freeman feels rather lightweight and under-used, and I couldnโt quite get past his dodgy American accent.
In terms of storyline, the film is a hotch-potch of plots from multiple other films, with โThe Lion Kingโ featuring strongly (but almost in reverse!). But thatโs no crime, when the Shakespearean-style narrative is good, and interpolating the strongly emotional story into the Marvel universe works well.
Where I felt a little uncomfortable is the element of racism โ that is, racism *against* white people โ reflected in the story. If there was a movie plot centred (basically) on the topic of whites killing blacks and taking control of every black-controlled country in the world (yes, I know, Iโm British and we have historically been there!) then there would be justified uproar, and the film would be shunned.
In the technical department, I had real problems with some of the effects employed. Starting with a dodgy โaircraftโ shadow, things nose-dive with an astonishingly poor waterfall scene with Forest Whitaker (โRogue Oneโ, โArrivalโ) as Zuri, green-screened against some Disneyworld cascades and hundreds of cut and pasted tribesmen randomly inserted onto the cliffs. Almost matching that is a studio-set scene in a jungle clearing, where if feels they could hardly have bothered to take the plants out of their pots. Think โDaktariโ quality (kids, ask your parents/grandparents).
But overall, the film, directed by Ryan Coogler (โCreedโ), is a high-energy and uniquely different take on Marvel that absolutely pays off. And it is without doubt an important movie in moving the black agenda forward into properly mainstream cinema.
The setting is the hidden African kingdom of Wakanda, where due to an abundance of a an all-powerful mineral called McGuffiniteโฆ so, sorry, Vibraniumโฆ the leaders have made their city a technological marvel and developed all sorts of ad tech to help the people keep their goats well and weave their baskets better (there are a few odd scenes in this film!). TโChalla (Chadwick Boseman) succeeds his father TโChaka (John Kani) to become the king and adopt the role of The Black Panther, being bestowed superhero powers by drinking a glass of Ribena.
But it emerges that TโChaka has a dark secret in the form of Eric Killmonger (Michael B Jordan, โCreedโ) who is determined to muscle in on the king-stuff. โIt never rains but it poursโ, and the whole of Wakandaโs secrets are in danger of being exposed by the antics of the vicious South African mercenary Ulysses Klaue (Andy Serkis, โWar For The Planet Of The Apesโ), trying to get his hands on vibranium to sell on to CIA operative Everett Ross (Martin Freeman, โThe Hobbit: The Battle of the Five Armiesโ, โThe Worldโs Endโ).
After โThor: Ragnarokโ, this is back to the more seriously-played end of the superhero spectrum: there are a few jokes but itโs not overtly played for comedy. Holding the film together are some sterling performances from the ensemble cast with Michael B Jordan very good as the villain of the piece. Adding to the significant black girl power in the film are Angela Bassett (โLondon Has Fallenโ) as the queen mother; Danai Gurira (โWonder Womanโ) as the leader of the Dora Milaje: the all-female kingโs guard; and Lupita Nyongโo (โ12 Years a Slaveโ, โStar Wars: The Force Awakensโ) as the spy and love interest Nakia. But the star performance for me, and one I found absolutely spot-on as a role model for young people, was Letitia Wright (โThe Commuterโ) as Shuri, the kingโs chief scientist. She is absolutely radiant, adding beauty, rude gestures and energy to every scene she is in.
Man of the moment Daniel Kaluuya (โGet Outโ) also adds to his movie-cred as a conflicted courtier.
On the white side of the shop Andy Serkis has enormous fun as Klaue and I really wanted to see more of his character than I did. Martin Freeman feels rather lightweight and under-used, and I couldnโt quite get past his dodgy American accent.
In terms of storyline, the film is a hotch-potch of plots from multiple other films, with โThe Lion Kingโ featuring strongly (but almost in reverse!). But thatโs no crime, when the Shakespearean-style narrative is good, and interpolating the strongly emotional story into the Marvel universe works well.
Where I felt a little uncomfortable is the element of racism โ that is, racism *against* white people โ reflected in the story. If there was a movie plot centred (basically) on the topic of whites killing blacks and taking control of every black-controlled country in the world (yes, I know, Iโm British and we have historically been there!) then there would be justified uproar, and the film would be shunned.
In the technical department, I had real problems with some of the effects employed. Starting with a dodgy โaircraftโ shadow, things nose-dive with an astonishingly poor waterfall scene with Forest Whitaker (โRogue Oneโ, โArrivalโ) as Zuri, green-screened against some Disneyworld cascades and hundreds of cut and pasted tribesmen randomly inserted onto the cliffs. Almost matching that is a studio-set scene in a jungle clearing, where if feels they could hardly have bothered to take the plants out of their pots. Think โDaktariโ quality (kids, ask your parents/grandparents).
But overall, the film, directed by Ryan Coogler (โCreedโ), is a high-energy and uniquely different take on Marvel that absolutely pays off. And it is without doubt an important movie in moving the black agenda forward into properly mainstream cinema.
Black Man, White House: An Oral History of the Obama Years
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New York Times Bestseller (Humor) "The book everyone is laughing about!"--Joe Scarborough, Morning...
Erika (17788 KP) rated Cold Pursuit (2019) in Movies
Feb 23, 2019
I am so torn on how to review/rate this film. This film is a remake of a Norwegian film, and the setting is moved to Colorado. The director of this film is also Norwegian, and it is apparent that this is the case from the beautiful shots of scenery.
Basically, Liam Neeson's character is taking out a drug network after they OD his son. It is amusing when he's committing the crimes, which is a very weird thing to say.
I don't know if it's funny enough to be considered a black comedy, but there are amusing/awkwardly funny parts. Midway through the movie, another drug network is brought into the picture, and I'm not sure it was strictly necessary.
I have to give a shout out to Tom Bateman, who plays Viking. After I got over the weird/pretentious American accent he was rocking, he reminded me of a lot of the people I know with his... interesting... viewpoints and parenting habits. I can't figure out if I liked this film or not. I think the further removed I get from seeing it, the more I like it.
Basically, Liam Neeson's character is taking out a drug network after they OD his son. It is amusing when he's committing the crimes, which is a very weird thing to say.
I don't know if it's funny enough to be considered a black comedy, but there are amusing/awkwardly funny parts. Midway through the movie, another drug network is brought into the picture, and I'm not sure it was strictly necessary.
I have to give a shout out to Tom Bateman, who plays Viking. After I got over the weird/pretentious American accent he was rocking, he reminded me of a lot of the people I know with his... interesting... viewpoints and parenting habits. I can't figure out if I liked this film or not. I think the further removed I get from seeing it, the more I like it.
Awix (3310 KP) rated Sightseers (2012) in Movies
Mar 8, 2018
Extremely offbeat study in British eccentricity works better as a very black comedy than a horror movie, but the level of gore suggests it really wants to be the latter; animal lovers may want to look away at some points, too. New-minted couple embark on caravan tour/erotic odyssey around northern England and manage to find time for a little light serial killing, too.
Attention to detail and atmosphere mean that this is a consistently funny film, with great performances from the two leads - it's really much more about their relationship than the campaign of bloody slaughter which ends up becoming a significant element of their holiday. This is excruciatingly well-observed and in some ways rather more disturbing than watching various characters get their heads smashed in. Micro-budget nature of the film is never in doubt, but also never really a problem. The ending is a bit arbitrary and abrupt, but not to the point where it's a major flaw in the film. By anyone's standards but Ben Wheatley's, this would be a fairly extraordinary little film, but for this director the extraordinary is actually fairly ordinary.
Attention to detail and atmosphere mean that this is a consistently funny film, with great performances from the two leads - it's really much more about their relationship than the campaign of bloody slaughter which ends up becoming a significant element of their holiday. This is excruciatingly well-observed and in some ways rather more disturbing than watching various characters get their heads smashed in. Micro-budget nature of the film is never in doubt, but also never really a problem. The ending is a bit arbitrary and abrupt, but not to the point where it's a major flaw in the film. By anyone's standards but Ben Wheatley's, this would be a fairly extraordinary little film, but for this director the extraordinary is actually fairly ordinary.
Awix (3310 KP) rated Parasite (2019) in Movies
Feb 14, 2020
Dazzling Korean jet-black comedy-thriller lives up to the hype. A clan of Seoul low-lives insert themselves with ruthless ingenuity into the comfortable lives of a wealthy family. Soon they are living much larger than they could ever have dreamt - what could possibly go wrong? (Well, plenty, of course.)
Obviously this is a film about issues of wealth and class and all the tensions and resentments that come with them, and as such it has a universal resonance regardless of whether or not it has those little words at the bottom of the screen. However, it is also an exhilarating piece of pure cinema, written and directed with great skill and creativity and well-played by the ensemble cast. At first you are drawn into rooting for the hangers-on despite their dubious enterprises, but slowly the story becomes more and more ambiguous and fraught. (Possibly the only Oscar and Palme D'Or winning film where body odour is a key plot point.) Gripping, symbolically powerful (the invisibility of the poor to their wealthier compatriots is another central theme), tremendously entertaining: pretty much everything you want from a movie.
Obviously this is a film about issues of wealth and class and all the tensions and resentments that come with them, and as such it has a universal resonance regardless of whether or not it has those little words at the bottom of the screen. However, it is also an exhilarating piece of pure cinema, written and directed with great skill and creativity and well-played by the ensemble cast. At first you are drawn into rooting for the hangers-on despite their dubious enterprises, but slowly the story becomes more and more ambiguous and fraught. (Possibly the only Oscar and Palme D'Or winning film where body odour is a key plot point.) Gripping, symbolically powerful (the invisibility of the poor to their wealthier compatriots is another central theme), tremendously entertaining: pretty much everything you want from a movie.
CS
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Tony Roper is one of Scotland's most recognisable faces. Best known for playing Jamesie Cotter in...