Category: TV Comedies (Page 19 of 154)

The world no longer moves to the beat of one particular drum…

I rather suspect that Gary Coleman had long ago resigned himself to the fact that, on the event of his death, he would be forced to endure a series of obituaries which liberally utilized the adjectives “diminutive” and/or “pint-sized,” used the phrase “child star” as an obscenity, and found some way, no matter how desperately, to incorporate the words “whatchu talkin’ ’bout” into their text. Fair enough: the man had a legacy, and that legacy – for better or worse – inextricably revolved around his work as Arnold Jackson on the fondly-remembered-almost-exclusively-by-those-who-lived-through-the-’80s sitcom, “Diff’rent Strokes.” In that I resemble that remark, however, I do not deny that I mourn Coleman’s death.

Coleman, who died today at the age of 42 after suffering an intercranial hemorrhage, was as much a part of my childhood as any other pop culture icon. Despite the fact that my father hated “Diff’rent Strokes,” my sister and I forced him to endure it week after week, much as NBC forced me to endure a crossover with “Hello, Larry” just so that I could see how the crossover between the two series panned out. The character of Arnold Jackson was the classic example of the kid who was ostensibly saying everything that we were thinking, and Coleman played the role to perfection…so much so, in fact, that he parleyed the same characteristics into every other character he played for the next several years, be it a boy scout (“Scout’s Honor”), a baseball player (“The Kid from Left Field”), a brain (“The Kid with the 200 I.Q.”), or even an angel (“The Kid with the Broken Halo,” which was spun off into an animated series simply entitled “The Gary Coleman Show“). This served him well during the ’80s, but once “Diff’rent Strokes” ended, so for all practical purposes did Coleman’s career.

Oh, sure, he continued to make guest appearances in films and on television series, generally as himself…or, at the very least, someone who had a tendency to demand to know what people were talkin’ ’bout. Once reality television took off, he was able to pick up even more work, courtesy of shows like “Star Dates” and “The Surreal Life” (and, unfortunately for him, “Divorce Court”), and, lest we forget, he made a few memorable voiceover appearances on “The Simpsons,” too. For the most part, though, you tended to feel bad for him. His financial battles, many of which could be traced back to when his parents wreaked havoc on his “Diff’rent Strokes” money while he was still a minor, were almost as legendary as the health battles which kept him trapped at a height of 4’8″ into adulthood.

In the wake of Gary Coleman’s death, better we should forget all of the years we spent watching him painfully trying to wring a few more moments of fame (and, in turn, a few more paychecks) out of his past and, instead, focus on what made him famous in the first place. It might’ve been an albatross around his neck as often as not, but when I was 10 years old, I thought it was the funniest thing on earth to hear him say his signature line, so I think I’ll listen to it one more time and remember how much laughter he gave me back then.

The Island is on the toenail of a giant…

Okay, so Fred Armisen was just a bit off, but while everyone continues to digest and debate the “Lost” series finale, it’s fun to look back on this old “Saturday Night Live” bit where several “Lost” fans share their early theories about the show while they share an elevator with Matthew Fox.

Weekend box office: “Shrek Forever After” #1 with diminishing returns; “MacGruber” explodes, but in the bad way

Shrek Forever AfterThe fourth and, I’m guessing, probably final theatrical bow for the soulful green troll with the Scottish accent grossed an estimated $71.25 million this weekend for Dreamworks and Paramount, according to the mighty Box Office Mojo chart. That’s a lot more than enough to make “Shrek Forever After” the top movie in the country this week, and a substantial take for any movie. It is, however, significantly below the $121.6 that the widely unloved last entry in the series earned on its opening weekend back in 2007 — without the benefit of inflated 3-D ticket prices.

It’s even further below the  numbers that were being bandied about by writers, if not, studios, earlier on. I mentioned last time that Carl DiOrio thought the film could hit $100 million, but failed to note the breakdown at the Numbers. It said that while “analysts” (whoever they may be) were suggesting a $90-$95 million opening, the studio was pimping a more modest $80 million while trying to diminish expectations. They should have diminished them a little bit more.

The week’s other major opener, “MacGruber,” proved my hunches to be at least as wrong as DiOrio’s. While steering clear to some extent of the $15-20 million guess at the Numbers, I doubted the single-digit numbers that DiOrio mentioned. As the singer of the obscure Difford and Tilbrook tune says, let’s face it, I’m wrong again. As it turns out, even DiOrio’s lowest figures weren’t low enough. The incompetent MacGyver-like bomb diffuser only earned a fairly pathetic $4.1 million in 2,551 theaters for the #6 spot. I think it’s safe to say that the poor reputation of SNL-derived films clearly preceded this one, which actually has garnered reviews that are a bit better than most other films in this long-running franchise.

Grim faced Ryan Phillipe, Will Forte, and Kristen Wiig face the b.o. music

Still, considering that most SNL sketches, even at their best, never seem to sustain until the end of the bit, it shouldn’t be too surprising that the movies derived from them have a hard time holding attention through feature-length running times. If “MacGruber” suffered from a bit of movie guilt-by-association, it’s just too bad for anyone who was hoping for a quick A-list status for the off-kilter Will Forte — a performer who I think would fit in really nicely in a David Lynch movie. (I mean that as a compliment, I think.) On the other hand, every time I check Rotten Tomatoes, even it’s now-meh-to-bad (once kind of okay and maybe even almost good) critical numbers keep dropping, with “Top Critics” being a bit more brutal.

The #2 and #3 spots, respectively, were held by “Iron Man 2” with an estimate of $26.6 million for Marvel and Paramount, and “Robin Hood” with $18.7 million estimated for long suffering Universal. Probably helped by weak competition, both movies managed to keep their weekly drop to just under 50%. Still, I think it’s safe to call the $200 million “Robin Hood” a disappointment that won’t do much for the careers of either Russell Crowe or Ridley Scott, not that they’re in any danger of obscurity just yet.

A paucity of movies for women of any age probably also helped grow some legs for the #4 cross-generational rom-com, “Letters to Juliet,” which dropped only by 32.8% and earned a solid $9.1 million for the probably fairly modestly budgeted film. That should help young Amanda Seyfried cement her growing credibility as a box office draw, at least for young-female-skewing films and even if her most challenging film role so far has been ignored. Of course, that lack of female-friendly major draws will change next week with the arrival of “Sex and the City 2.”

Jesse Eisenberg is probably okay for the JewsOn the limited release circuit, it was actually a pretty good weekend for Jesse Eisenberg and the talented young actor’s efforts to prove he’s something other than a Jewish knock-off of Michael Cera. His high-concept drama with mixed reviews, “Holy Rollers,” performed fairly strongly in its opening weekend on three screens with a solid per screen average of $13,003 from an audience that probably discussed after the film whether the drama about a drug-running Hasid was good or bad for the Jews. Doing even better was the all-star comedy, “Solitary Man,” top-lined by Michael Douglas and Danny DeVito (let’s not talk about how long it’s been since “Romancing the Stone” and ‘The War of the Roses”),” and also featuring mid twenty-something Eisenberg. On the strength of strong reviews and the cast, it managed an estimated $22,250 on four screens. As usual, Peter Knegt at Indiewire has the details.

Weekend box office: “Shrek Forever After” enters the 3-D fray

The combined power of family films and the inflated ticket prices of 3-D films being what it is, I don’t think there’s room for much doubt that the putative final entry in the now four film-long computer animated “Shrek” franchise will take the weekend, and probably in a reasonably major way. According to jolly Carl DiOrio, $100 million may be possible. That’s a number that, while being substantially less than past openings featuring the affable troll, may be overheated, with other experts predicting significantly lower amounts. On the one hand, DiOrio theorizes that the tracking surveys don’t properly account for the strength of family films nor the 3-D box office bonus. (He notes some theaters in NYC are charging $20.00 for 3-D showings.) Still, four movies in, people may tend to write this one off as a last ditch attempt to cash in on a once immensely popular character.

Shrek whatever

Are they right? Well, our own David Medsker, not a huge fan of the series, actually thinks “Shrek Forever After” has the most heart of any entry so far and notes that it has lowered the number of fart jokes, always a welcome change in my book. It’s also probably worth noting that Dreamworks and Paramount have chosen an animation newbie in director Miguel Arteta, whose previously been best known for such character driven, off-beat low budget indie comedies as “Chuck and Buck” and “The Good Girl,” as well as the more recent and somewhat more mainstream targeted “Youth in Revolt.” The choice of Arteta has apparently worked to some degree as the film has enjoyed a modest bump upwards in esteem from the critically unlovedShrek the Third.” Still, the marketing for the film has been hampered by title changes — previous monikers were “Shrek:  The Final Chapter” and “Shrek Goes Fourth.” Still, as long as people remember the “Shrek” part, it shouldn’t be too big a problem.

There will be competition from other just a bit less family-friendly major releases rated PG-13 for varying degrees of violence, but Marvel/Paramount’s “Iron Man 2” has been dropping by over fifty percent from its terrific but not ultra-immense opening week, and therefore is likely to come at #2. Last week’s #2, “Robin Hood,” is expected to have a pretty huge drop in its second week based on its unexciting word of mouth and will come in somewhere lower in the top five. Its a good thing for beleaguered Universal Studios that the action-adventure criticized for a marked lack of fun has nevertheless generated strong international numbers.

MacGruber
The week’s other new release has been getting a lot of ‘net coverage, and is based on a character with a lot of TV exposure. Even so, the gurus seem to agree that it won’t be a massive hit. Given that the Saturday Night Live movie brand is not exactly vibrant, though it’s always fun to read about — and was last made use of in 2000 — “MacGruber” could be seen as damaged goods from the start because it’s derived from a series of one-joke skits from the show featuring Will Forte and that PH favorite/comment generator, Kristen Wigg. No wonder that the “tracking” has not been too spectacular.

The very broad comedy, essentially an elaborate spoof of the old “MacGyver” TV series, about an incompetent would-be super-spy who isn’t nearly as good at defusing huge bombs as he thinks he is, is apparently tracking fairly poorly. On the other hand, this film is getting a entirely non-rapturous but okay critical reaction (59% “fresh” as of this writing), which indicates to me it will end up as a video guilty pleasure for many of us. The question is, will so many of the audience decide to wait for the DVD/Blu-Ray or cable version of the film that the number will really be a rather sad $8-10 million as Carl DiOrio suggests, or will enough family-film wary 17-40 year old males decide to enjoy the film’s juvenile-yet-R-rated pleasures making for the more robust $15 or even $20 million figures suggested by C. S. Stowbridge at the Numbers? I’ve been wrong before, but I’m guessing “MacGruber” will at least break double digits. I hope it does fairly well, if only so there’s a chance we’ll see Betty White reprise her SNL role as MacGruber’s (too) beloved grandma in the sequel.

There isn’t a huge amount of action this week on the limited release market, at least in terms of high-profile new movies. “Holy Rollers,” a fact-inspired tale starring Jesse Eisenberg as a young Hasidic Jew — if you don’ t know the term, just think of them as the tech-friendly, urban equivalent of the Amish — who gets caught up in trafficking Ecstasy. Apparently, its premise is more interesting than the actual movie. What a shanda.

Holy Rollers

Greetings to the New Season: CBS – UPDATED

Finally, things are starting to get interesting. CBS has released its schedule for Fall 2010, and, wow, talk about shaking things up. Thursday nights were already wreaking havoc on my viewing schedule, and now it’s only going to get worse. Check out what the network has done, see what they’ve added to their line-up (including behind-the-scenes videos), and be sure to leave your comments below!

MONDAY

8 – 8:30 PM: How I Met Your Mother

8:30 – 9 PM: Rules of Engagement

9 – 9:30 PM: Two and a Half Men

9:30 – 10 PM: Mike & Molly: a comedy from Chuck Lorre (“Two and a Half Men,” and “The Big Bang Theory”) about a working class Chicago couple who find love at an Overeaters Anonymous meeting. Officer Mike Biggs (Billy Gardell) is a good-hearted cop who sincerely wants to lose weight. Mike’s partner, Officer Carl McMillan (Reno Wilson), is a thin, fast-talking wise-guy, who despite his teasing encourages Mike on his road to slimness and romance. While speaking at an O.A. meeting, Mike meets Molly Flynn (Melissa McCarthy), an instantly likeable fourth-grade teacher with a healthy sense of humor about her curves.

For Molly, focusing on smart choices isn’t easy because she lives with her sexy older sister, Victoria (Katy Mixon), and their mother, Joyce (Swoosie Kurtz), both of whom flaunt their healthy appetites and slender figures. Mike also faces temptation at the diner he and Carl frequent, where they’ve become friends with the Senegalese waiter, Samuel (Nyambi Nyambi), who finds trying to eat less a foreign concept. For Mike and Molly, thanks to their mutual love of pie and the desire to resist it, finding each other may have been worth the “weight.” Chuck Lorre and Mark Roberts are executive producers.

10 – 11 PM: Hawaii Five-0: a contemporary take on the classic series about a new elite federalized task force whose mission is to wipe out the crime that washes up on the Islands’ sun-drenched beaches. Detective Steve McGarrett (Alex O’Loughlin), a decorated Naval officer turned cop, returns to Oahu to investigate his father’s murder and stays after Hawaii’s governor persuades him to head up the new team: his rules, her backing, no red tape and full blanket immunity to hunt down the biggest “game” in town.

Joining McGarrett is Detective Danny “Danno” Williams (Scott Caan), a newly relocated ex-New Jersey cop who prefers skyscrapers to the coastline but is committed to keeping the Islands safe for his 8-year-old daughter; and Chin Ho Kelly (Daniel Dae Kim), an ex-Honolulu Police Detective wrongly accused of corruption and relegated to a federal security patrol, who is also a former protégé of McGarrett’s father. Chin’s cousin, Kono (Grace Park), is a beautiful and fearless native, fresh out of the academy and eager to establish herself among the department’s elite. McGarrett vows to bring closure to his father’s case while the state’s brash new FIVE-0 unit, who may spar and jest among themselves, is determined to eliminate the seedy elements from the 50th state. Peter Lenkov, Alex Kurtzman and Roberto Orci are executive producers.

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