Category Archives: comedies

Skip’s Quips: Laughing With Garbo in ‘Ninotchka’

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Blog Sketch 082813No, I hadn’t seen Ninotchka until last night, though all this time, I knew I’d like it. Why it took so long for me to view it is anyone’s guess, though.

Great flick, and the famed Lubitsch touch is everywhere, from the opening to the ending. There was also a good measure of bad taste thrown in, which I was thinking about after I saw it. Who else but Lubitsch would make a film satirizing the economic problems Soviet Russia was going through? This was the same director who crafted To Be or Not to Be, after all … which was similarly delicious, despite its controversial subject matter.

Anyway, I thought Greta Garbo was terrific, as was Melvyn Douglas, and I loved seeing the great Sig Ruman in yet another silly role. Ah, he was so good at those.

What an enjoyable movie.

Setter’s ‘Spectives: It’s ‘The World’s End’ as We Know It … Big Whoop

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Setter Drawing for Blog 082613Ever get the feeling while watching a movie that the actors enjoyed it a lot more than you?

That was exactly my response to The World’s End, the third in the “Cornetto” trilogy of silly, hyper-violent cinematic spoofs starring Simon Pegg and Nick Frost. (The previous two were Shaun of the Dead and Hot Fuzz.) I’m not a huge fan of the other films in this loose series, though they’re diverting enough on a rainy day when nothing else is on. The World’s End, however, felt more slapdash and cobbled together, as if the script – which has something to do with robotic aliens taking over the world as a stuck-in-the-’80s loser attempts to make a final, epic pub crawl with his now-grown-up buddies – was devised on the fly over brewskis. Ultimately, there were a lot fewer laughs in this flick than I hoped for, despite a strong cast (Martin Freeman plays one of the pals) and what was probably an immense amount of money spent on blue, extraterrestrial blood.

Part of the reason why I’m not a “Cornetto” series fan is the insistence on frustratingly kinetic editing that typifies many of the “action” scenes. I realize this is all part of the idea – that this is spoofery and it’s all very lighthearted – but it makes for dull viewing when done over and over again. And though I feel that Hot Fuzz is the best of the lot, I think they all smack of missed opportunities, as if too many jokes fell by the wayside. If you’re going to spoof something, go all the way, à la Airplane! or Blazing Saddles. I’m not sure what the creators of The World’s End were thinking, but there were some semi-serious moments that didn’t really work in such a wild and woolly context.

Once again, I’m in the minority on this; the Cornetto trilogy is a popular one, and I seem to be, oftentimes, at odds with popular cinematic taste. I stand by my perspective on The World’s End, though, with the end result being that on the whole, I’d rather have an ice cream than watch this movie again.

Setter’s ‘Spectives: How Glib Was My Movie

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Setter Drawing for Blog 082613Trying to watch Celeste & Jesse Forever is hard.

I don’t like movies like this. Glib, smug, self-conscious. Snarky, unfunny humor.

Tough flick to get through. Oh, and it’s something about a couple in the process of divorce who still behave like a married pair. What a concept. Bleah.

Too bad, too, because there’s talent involved in this Lee Toland Krieger film, including Andy Samberg and Rashida Jones as the not-so-doomed lovers. The components, however, just don’t seem to mesh, and they end up making for tiresome viewing. Too bad.

Is there a comedy in the house? Well, there is … once I decide to watch something better.

From Skip and Setter’s Creator: My Next Opus on CURNBLOG … This Time With Susan Seidelman

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Blog Sketch of Me 092213Hi, folks! My new interview on CURNBLOG is up, and it’s a good one: I talk to Susan Seidelman, director of films such as Desperately Seeking Susan, about balancing comedy and drama, Hollywood’s treatment of female talent, and her own cinematic influences. You can read more here:

http://curnblog.com/2014/03/07/interviewing-susan-seidelman-madonna-menopause/

I hope you like it.

Skip’s Quips: Spreading the Love for Gilliam’s ‘Munchausen’

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Blog Sketch 082813I’m still sad about the fact that Terry Gilliam’s The Adventures of Baron Munchausen flopped when it debuted about 25 years ago.

I’m sadder, however, that it seems to be overlooked when people talk about overlooked classics. They might mention Gilliam’s other great film, Time Bandits, but Munchausen? Pshaw! That one flies under the radar of the everything else flying under the radar.

It’s too bad, too, because Munchausen is a terrific movie. There’s hilarious, Monty Pythonesque comedy. Rollicking adventure. Fine (for the most part) acting. A lovely score. And gorgeous art direction, exemplified by a brilliant set piece involving Robin Williams as a truly loony King of the Moon whose head detaches from his body in search of metaphysical pleasures.

That’s wild stuff. And I love it. If you like Time Bandits (which I do as well) and haven’t seen Munchausen, I encourage you to do so. It’s hardly shown on TV for some reason, but it shouldn’t be too hard to find. Plus, you can play “Spot the Famous Actor/Actress” while watching it, so that should provide added value. Enjoy.

Setter’s ‘Spectives: Dude, Where’s My Movie?

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Setter Drawing for Blog 082613Now I can finally say I’ve seen The Big Lebowski.

And what a big, sloppy movie it is. Kind of tedious, ultimately, too, though it has some bursts of funny dialogue.

Could’ve been a lot better, though. Seemed to miss a lot of opportunities. Still, you rarely see real, bona fide (OK, actors portraying real, bona fide) nihilists onscreen, so that’s a plus. A Big Lebowski plus. Hm.

Actually, what bothered me the most about this Coen Bros. film was the structure. Despite all the tying up of (really) loose ends, it felt like it was generated in a room at midnight over a couple of White Russian cocktails and tons of stale coffee. Perhaps that was the point. I’m not Big Lebowski big on that kind of point, though.

Yes, the cinematography was quite good. Especially the camera-in-the-bowling-ball shot as the orb rolled down the lane. Nice job on that, guys. It didn’t, however, define the movie, like some shots do. And great camerawork does not necessarily a great movie make.

Oh, well. I wish the Coens decided to be much sillier with the film, as it had so many wide-open targets: nutty artists, bowling aficionados, stoner, uh, no-goodniks. It just ended up being diverting, with a number of long stretches. I’m not Big Lebowski big on long stretches, either.

I just want a good-overall movie.

Skip’s Quips: Building a Case for ‘The Lego Movie’

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Blog Sketch 082813What audience is The Lego Movie trying to reach?

I only ask because, after seeing it last night, I’m thinking most of it will be over the head of your average 7-year-old.

It’s a pretty subversive flick, believe it or not. Full of frenetic jokes that only elder folk such as myself will get. And it doesn’t get all Hollywood sentimental until the end, though it seems like an organic conclusion.

But what are we to make about humorous references to “illiteracy” in a fantasy-themed Legoland or a male character eyeing a female one as she’s talking and only hearing “blah, blah, blah” or someone paying $37 for “overpriced” coffee?

I’ll tell you one thing: The kids in the theater where I saw this film weren’t laughing constantly. In fact, oftentimes they were pretty subdued. And I don’t think a children’s cartoon is supposed to do that.

Unless, say, it’s Watership Down … which isn’t really for children, anyway.

So where is The Lego Movie going? Hit or miss? It’s difficult to say. It’s going to have to get that adult audience, too, if it’s going to be successful. I’m not sure children are going to want to come back to see it.

But what do I know? I didn’t think that about Bambi, either.

Setter’s ‘Spectives: How Did I Avoid ‘The Fortune Cookie’ All These Years?

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Setter Drawing for Blog 082613I must be remiss. Very remiss.

I hadn’t seen Billy Wilder’s The Fortune Cookie until a few days ago. Bad, bad me.

It was terrific. Not the greatest comedy ever made, but this witty farce, concerning an injured cameraman and his lawyer brother-in-law’s scheme to collect a fraudulent insurance windfall, was as smooth and quick on its feet as Walter Matthau’s sleazy attorney. I think I put off viewing it for so long because it was about insurance. Amazing how so dry a subject can make such froth.

I confess there are still a lot of fine films I haven’t seen. But I can now check this Cookie off my list. Thank goodness.

Setter’s ‘Spectives: To Like This Movie, You Must Be This Old

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Setter Drawing for Blog 082613Another college story.

The setting: a lively freshman dorm. At the end of the hall, in a small, loungey area, sits a TV with a VCR (remember those?). Enter me, with a videotape, accompanied by another resident.

“What movie are you gonna watch?” asks the resident.

“The Producers,” I say. “Wanna join me?”

“Oh, no. That’s old humor.”

Exit resident, like tears … in the rain.

To this day, I repeat that phrase to myself: old humor. What does that mean? How old does humor have to be in order to be old? Does it get Social Security? And how do we know when new humor becomes old? It’s like that Groucho Marx routine in Duck Soup,  where the funnyman cancels out any discussion of “new business” seconds after it’s mentioned: “Too late, that’s old business already.”

Here’s my theory: There’s no such thing as old humor. Just good and bad. Many of the attitudes in The Producers are dated, but it’s still funny. And I’d rather see that any day over The Secret Life of Walter Mitty  (which, in its original short-story incarnation, ones-up The Producers in the age department, anyway).

Yes, of course, there’s taste, and it differs greatly when humor is involved. You may not like Mel Brooks’ comedies or Zero Mostel’s mugging. Yet to call something old humor seems to me just absurd. If something’s good, it stays that way. The years don’t make it worse.

For the record, I want to note that I’m not just about older comedies. One example: I liked Anchorman 2: The Legend Continues. Though, wait … is that old humor because it’s a sequel to an older film? Does it still count as new?

Ahhh … whatever.

Setter’s ‘Spectives: Looking Anew at a Laurel and Hardy Classic

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Setter Drawing for Blog 082613To me, watching March of the Wooden Soldiers is like opening a Christmas present.

It still offers surprises, no matter how many times you do it. The fact that it was on TV on Xmas Day, as usual, drove that point home. This year, I marveled at the elegance of Laurel and Hardy’s routines. I smiled at the charm of Victor Herbert’s lilting score. And I pondered the idea that those mean “bogeymen” invading Toyland at the end were racist caricatures.

Yep, I did just that. It basically ruined my naive memory of viewings past. But it also instilled an awareness that many of the pleasures we grew up on don’t always retain their innocent luster.

OK, you say, but this movie is totally silly. It’s just fantasy and isn’t political. It’s escapist. It’s Laurel and Hardy, for crying out loud!

It is, but I’m reminded of other “innocent” routines in otherwise sterling pictures, such as the big musical number in A Day at the Races, that have disturbing social connotations attached to their entertainment value. In March, the bogeymen are monstrous, cartoony, but also apelike in their movements, unintelligible and savage. Plus, they attack Toyland in masses, attempting to carry off the inhabitants while causing as much damage as possible.

Doesn’t that sound like the white establishment’s worst fear—that the race it has pressed down for so many centuries will invade and destroy it?

This isn’t a subtle message, yet I’m chagrined that it has taken me this long to understand it. Perhaps it’s because I’ve seen it so many times and, in the past, have only looked at it superficially. Now, however, I’m noticing the subtext, and although I still find the movie amusing, my joys are somewhat deflated. Like Races, it’s attained a mark that—though based in misconceptions of yore—serves as a strike against it. These ideas can’t be discounted, no matter how old they are or antiquated they seem.

That’s because they still appear on TV … every year, in the case of March. And they still have the capacity to be offensive.

If we examine all of our holiday traditions, I’m sure we’d all find concepts we disagree with. The hardest ones to explore, though, are the ones we’ve grown up accepting but don’t make sense once we revisit them with older eyes.

I’m feeling that way about March, though a present worth opening is also worth discussing. Perhaps we can continue to do that as the holidays amble by.