Category: Movie Comedies (Page 45 of 195)

Box office preview: “The Expendables” likely to fend of a mob led by an ugly nanny, unfunny vampires, and flesh-loving fishies

The ExpendablesIt’s very late as I start this and with five new wide releases this week, I’m not going to even attempt to try and describe all of them in any detail. In fact, I’m going to try and make this post as short as possible. Basically, the story is that the prognosticators like Ben Fritz and jolly Carl DiOrio seem to agree that last weekend’s megamacho winner, The Expendables, is the most likely winner of this week’s box office derby. That’s because none of the five movies is seen as being that strong.

Personally, as a geek who adores humorous, old school exploitation horror movies but who is also a gross-out negative gorephobe in no mood to have a bloody penis (!) thrown at me or throw-up thrown in my lap, I honestly don’t know whether to be happy or sad that the apparently rather effective “Piranha 3D” is not expected to do very well for the Weinstein Company. That’s despite what should be a successful formula of blood and breasts. It’s always worked before. The movie has been kept away from most critics but — bad sign — most of the ones who have seen it actually like it.

Expected to do better is the English family comedy sequel from Working Title, “Nanny McPhee Returns,” starring and written by the wondrous Emma Thompson as the anti-Poppins. The film, already a success overseas, is seen as having the best shot at kicking the arse of the ass-kicking “Expendables” septet, but I wouldn’t bet on it.

Actually, I wouldn’t bet on anything because with so many movies out, it’s really just kind of a mess and anything can happen. I wouldn’t expect an upset, however, from the Warners “‘hood comedy” “Lottery Ticket” or the PG-13 Jason BatemanJennifer Aniston rom-com involving a “baster baby,” the aptly titled “The Switch” from possibly soon-to-be-moribund Miramax.

Jason Batemen and Jennifer Aniston in

On the other hand, there is another movie that’s actually expected to do rather well and, oh god, I have no goddamn clue why that should be. I mean, if I was eight years old, I might find the title of Fox’s spoof film “Vampires Suck” promising. However, there is an emerging and near universal consensus that, whatever stereotypes might be out there about us Jewish guys being as inherently funny as, say, Canadians, they are more than disapproved by the past work of Jason Friedberg and Aaron Seltzer. These are the guys who foisted “Disaster Movie,” “Meet the Spartans” and “Date Movie” upon an unsuspecting world. IMDb users are not loving it too much either, although there are nine women 45 and over I really wonder about. Hmm. Both guys have to have mothers, right? That’s two. Grandmothers? Aunts? Great grandmothers? Second cousins?

“Suck” is, I’m sure, the worst reviewed major movie of our not-so-young year. Indeed, the alleged comedy was on the precipice of achieving a rare 0% on Rotten Tomatoes when a lone contrary opinion saved it and got it all the way to a mighty 3%. No, it wasn’t the nefarious and attention-hogging Armond White who found something to not hate in a spoof movie seemingly dripping in the not-funny, but newcomer Michael Ordona of the L.A. Times. Or at least Rotten Tomatoes says it was him. The actual review, at least here, has no name on it. Is somebody ashamed?

The really sad part of this story is that the suck movie was actually released on Wednesday and had a surprisingly okay first day. In theory, it could win the weekend, and that would really suck.

Stay tuned — though it’s looking like my Sunday box office report will likely be delayed to Monday. Can you stand the suspense that long? I know I can.

Brewster McCloud

Warner Archives’ long-awaited DVD of Robert Altman’s rarely seen 1971 follow-up to his “MASH” breakthrough is an example of some of the best, but a lot more of the worst, of the great director’s filmmaking approach. Bespectacled Bud Cort (“Harold and Maude”) stars in the title role as a geeky but confident youth building a human-powered flying machine in a fallout shelter at the then new Houston Astrodome, looked over by a mysterious goddess-like earth mother/protector (Sally Kellerman). Meanwhile, assorted right-wingers in Brewster’s sphere are dying under never fully described or explained circumstances, including witchy Margaret Hamilton (“The Wizard of Oz”), complete with ruby slippers, and unrecognizable Stacey Keach under an enormous amount of age make-up as a greed-obsessed millionaire. A tough, plays-by-his-own rules San Francisco cop named Frank Shaft (Altman favorite Michael Murphy) is working the case, but the only thing connecting the deaths is the presence of bird feces on the corpses — which is, I guess, supposed to be hilarious and also meaningful. Meanwhile, the seemingly sex-negative Brewster bumps into a girl with a talent for wacky black comedy car chases (Houston-bred Shelley Duvall in her first film role). Altman discarded the original screenplay by Doran William Cannon, who wrote the infamous “Skidoo,” and so the writer can’t be blamed for the narration featuring Rene Auberjonois as a possibly half-bird ornithologist. It’s not all torture. The final few minutes find their way to a bit of actual movie poetry beneath the skylight of the Astrodome, but this bird doesn’t stay airborne for long.

Click to buy “Brewster McCloud”

Exclusive Clip — “Cemetery Junction”

It’s annoying but true: in the current blockbuster-driven film climate, an increasing number of films which are clearly worthy of a look are not even getting theatrical releases. You’d think that the directorial debut of the widely acclaimed team behind the original UK version of “The Office” and HBO’s outstanding “Extras,” not to mention “The Ricky Gervais Show,” would at least get a limited arthouse release in the good old U.S.A. The fact that Ricky Gervais has become a well-known figure here as a comic in his own right should help, even if his movies as a writer-actor have so far failed to set our world on fire. If even Gervais’s equally mirth-inducing but less well known professional partner, Stephen Merchant, were to wander into, say, a random Santa Monica or Hollywood-area coffee house, he might well be mobbed.

Nevertheless, the DVD of Gervais and Merchant’s cinematic directorial debut, “Cemetery Junction,” was released yesterday and we have, I’m told, an exclusive clip from the film. As you’ll see, this appears to be a slightly jaundiced coming-of-age comedy-drama in the mold of something like “Diner,” “American Graffiti,” Fellini’s “Il Vitelone,” and innumerable other nostalgic-yet-brittle films made in Britain and all over-the-world.  It stars young Christian Cooke as the requisite dissatisfied local, dividing his time between hanging out with his more complacent mates (Tom Hughes and Jack Doolan), a theoretically dead-end job selling life insurance (hey, that’s what my dad did!), and falling for the boss’s beautiful but engaged daughter (Felicity Jones). Supporting turns are filled by Ralph Fiennes, Emily Watson, Matthew Goode and, of course, Ricky Gervais. He just happens to appear in the rather amusing clip below.

A roundtable chat with Kevin Pollak of “Middle Men”

MM-01394

A highly entertaining character actor, stand-up comic, and now also a screenwriter and Internet talk show host, Kevin Pollak will nevertheless remain forever in the shadow of three men. One is wise-guy crook Todd Hockney from Christopher McQuarrie and Bryan Singer’s slambam 1995 debut, “The Usual Suspects” (currently at #24 of all-time most popular films on IMDb); the other two are, of course, William Shatner and Christopher Walken. So powerful are the Pollak impressions of these two men, I’d venture that when most of us attempt to impersonate either actor, we’re really not doing Shatner or Walken, we’re doing Pollak doing Shatner or Walken. (Though, personally, my extremely bad Christoper Walken is really a very bad impression of Kevin Spacey‘s Walken but, for all I know, Spacey got his from Pollak while shooting “Suspects.”). Indeed, I can remember a time when it seemed like nobody did Shatner and I’m pretty sure it was Pollak who kind of opened to door for all the other impressionists into the voice and mannerisms of the man Pollak calls “the Shat.”

Among the nearly 90 or more productions he’s been involved with as an actor, Kevin Pollak’s latest release is “Middle Men,” a black comedy-laced drama owing more than a little bit to Martin Scorsese. The film stars Luke Wilson as straight-arrow businessman Jack Harris who falls in with a pair of highly inventive cokeheads (Gabriel Macht and Giovanni Ribisi) and would be Internet porn kings during the late 1990s. The pair have developed the first really viable method for collecting money over the ‘net in a reasonable amount of time. Of course, things get massively complicated from there and Pollak turns up later in the film as an FBI agent who comes to Harris and his porn star girlfriend (Laura Ramsay) with a startling new reality. The film, co-written and directed by George Gallo, best known as the screenwriter of “Midnight Run,” is actually just part of an ongoing collaboration between the director and the actor-comic and now screenwriter.

As is often the case, I was one of a number of scribblers who were participating in a roundtable with Pollak during the “Middle Men” press day at L.A.’s Four Season’s hotel. Pollak arrived in a friendly but highly subdued mood. He was a late addition to the press day and obviously has been keeping very busy. Among many other projects, he had a new stand-up special ready premiering, and an increasingly popular podcast, Kevin Pollak’s Chat Show, with recent guests including Neal Patrick Harris and John Slattery of “Mad Men.”  Pollak frankly seemed a little tired at first, though going out of his way to be funny — because that’s what you expect from Pollak. Things perked up as it went.

Continue reading »

The Good, the Bad, the Weird

Korean cinema has really flourished over the last five years under the guidance of directors like Chan-wook Park and Joon-hoo Bong, and you could probably add Ji-woon Kim to that list as well. Though his last two movies (the horror thriller “A Tale of Two Sisters” and the crime drama “A Bittersweet Life”) haven’t had much of an impact overseas, his latest film is a fresh and fun action comedy that transcends its midnight movie façade to succeed as a true cult classic in the making. Unlike Takashi Miike’s “Sukiyaki Western Django,” which failed to make the most of its East-meets-West potential, “The Good, the Bad, the Weird” actually has a solid story and some great acting to go along with its flashy set pieces.

Clearly inspired by Sergio Leone’s “The Good, the Bad and the Ugly,” Kim’s film takes place in 1930s Manchuria where three strangers – a bounty hunter (Woo-sung Jung), an assassin (Byung-hun Lee), and a clumsy thief (Kang-ho Song) – face off for possession of a stolen treasure map while being pursued by a group of bandits and the Japanese army. Though it’s a bit long at 130 minutes, Kim does well to keep the story moving along as we learn more about the characters and how they’re connected to one another. Granted, the supposed Good of the film isn’t really all that good considering he kills the most people, and Jung makes him so mysterious that he’s also the least identifiable, but the other two actors are perfect in their respective roles – particularly Song, who’s so amusing as the comic relief that it’s hard to imagine the movie working as well as it does without him in the mix. The film also features a handful of incredible action sequences that underscore everything that’s great about “The Good, the Bad, the Weird,” and although it might not appeal to everyone, it’s one of the most wildly entertaining movies that I’ve seen all year.

Click to buy “The Good, the Bad, the Weird”

« Older posts Newer posts »

© 2026 Premium Hollywood

Theme by Anders NorenUp ↑