98 posts categorized "Comedy"

May 11, 2018

OH, RICK!

Oh  Rick2The coolest comic you’ve [probably] not heard of, Rick Crom is a comic legend among stand-up comics. The Chicago-born stand-up comic of legendary New York City status gets his just deserts in this loving documentary from co-directors Dustin Sussman and Aaron Rosenbloom.

Rick Crom performed in the full run of the hit Broadway show “Urinetown.” His downtown fans include Wanda Sykes, Louis C.K., Hannibal Burris, Sarah Silverman, Jon Stewart, and the list goes on and on. Rick’s musical abilities are no small trifle. He’s a natural behind a set of 88s as he’s comfortable with a guitar in his hands. Rick Crom’s knack for emceeing has gotten him more NYC stage-time than seems humanly possible. He's a composer, teacher, and the kind of no-nonsense human being you'd be proud to introduce to your family at Thanksgiving, Christmas, or your budding-comic kid's birthday party.

Oh  Rick!3

It’s not every day that someone as skilled and natural as Rick Crom (pronounced "chrome") lights up your day, or night, or wee hours of daybreak. Full disclosure, I had Mr. Crom on my podcast series LA GRANDE BOUFFE (THE BIG FEAST) to talk about Mel Brook’s “Young Frankenstein,” and about his experiences in comedy. A finer gentleman I’ve not had the pleasure, and honor, of sharing time. See this inspiring movie; you'll be glad you did. I just wish it was 15 minutes longer. 

Not rated. 78 mins. (A-) (Four stars — out of five / no halves)

Chicago-born, and NYC stand-up comic legend, Rick Crom (pronounced chrome) joins the Feast to talk about Mel Brooks's YOUNG FRANKENSTEIN, and OH, RICK!, a great documentary about him. No craft beer on this episode, just some chewy chat about funny stuff. Bon appetite. 

Rick Crom

Subscribe to the podcast on iTunes and follow us on SOUNDCLOUD. And tell your friends! 

Young frankenstein

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Groupthink doesn't live here, critical thought does.

February 25, 2018

GAME NIGHT

Game_nightAlthough saddled with a few unnecessary sequences, this comic rejiggering of David Fincher’s famous 1997 thriller “The Game” (starring Michael Douglas and Sean Penn) is a laugh-inducing movie with more than its share of plot twists. Co-directed by John Francis Daley (actor on television’s “Bones”) and Jonathan Goldstein, “Game Night” plays on a cartoon level of violence and suspense. The satire never goes near politics even if the film’s atmosphere is all about American fears and obsessions with torture and violence. Guns and kidnapping provide the lay of the land.

Slapstick pratfalls jab your funny bone, along with witty volleys of sometimes hilarious self-referential [elitist] pop culture jokes that connect more than they miss. With five or ten minutes of sloppy dialogue excised, “Game Night” could run much smoother. The filmmakers are guilty of concurrently running scenes that don’t keep time with each other or the tempo of the movie.

Game-Night

Jason Bateman and Rachel McAdams are Max and Annie, a suburban married couple into playing games — board games, charades, you name it. The couple host a weekly game night with two other couples. Now that his wife left him, Max and Annie exclude their creepy police officer neighbor Gary (Jesse Plemons) from their weekly group entertainment. You can’t blame them really. Gary is weird, brokenhearted and weird. Just how obsessive, we may only discover during the closing credits.

Trouble arrives in the guise of Max’s older, taller, more handsome, and successful brother Brooks (Kyle Chandler). Brooks is in the business of humiliating his little brother at every opportunity. He shows up driving a 1976 candy-apple-red Corvette Stingray that is Max’s dream car. So it follows that Brooks invites the party of revelers to a game night at the palatial house Brooks is renting. Naturally, Brooks has hired a company to kidnap one of the guests so that the rest can follow “FBI Dossier” clues to rescue the poor victim. The winner takes possession of the Stingray as his or her trophy. Think mystery theater, but with guns, blood, and high-speed car chases.

Screenwriter Mark Perez does some interesting things with form. The opening act runs like a top with funny montage sequences that fast-forward us into the story with a slingshot delay. Still, Perez is too much in love with his every darling joke that he doesn’t stand back to see where some sub-plots should land.

Kyle Chandler

Gamers Sarah (Sharon Horgan) and Ryan (Billy Magnussen) are a not-so mismatched cougar-and-fratboy duo whose butting, and budding, relationship pleads for consummation. Perez fares better with a subplot involving Kevin (Lamorne Morris) and Michelle (Kylie Bunbury) whose ongoing argument over a mystery celebrity Michelle laid, gets an inspired resolution.  

“Game Night” is a dark, not black, comedy that taps into modern American fears regarding guns, imposters, and sudden violence. The game is always rigged and no amount of innocence can save you.

Rated R. 100 mins. (B) (Three stars — out of five / no halves)

Groupthink doesn't live here, critical thought does.

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March 10, 2016

WHISKEY TANGO FOXTROT

Whiskey-tango-foxtrot“Whiskey Tango Foxtrot” (a.k.a. WTF) is such a bizarre title for a movie that it seems unlikely audiences will flock to see Hollywood’s first good film of 2016. I’ve seen it twice for good reason. Tina Fey blows the doors off this baby. So does the ensemble. Martin Freeman (as war photographer Iain MacKelpie), Christopher Abbott (as Afghan fixer Fahim), and Billy Bob Thornton (as a Marine General) contribute mightily to the film’s artistic success. Sure it's American white lady propaganda. You know that going in.

It’s a telling coincidence that the real Kim Barker, upon whose book “The Taliban Shuffle” this film is based, once described herself as “a Tina-Fey type. The heavens were listening. Fey got wind of it and optioned the book before teaming up with co-directors Glenn Ficarra and John Requa to take a running start at Robert Carlock’s seamless adaptation of Barker’s book.

If anything, the movie is paced too evenly. It's missing a dramatic centerpiece, but pushes through on the inertia if its wealth of well observed details. 

The movie squanders a potential key sequence that would show how Kim Barker handles herself alone. As fits the Hollywood formula a man, who represents her knight in shining armor, saves a drunken Kim from an unknown alley in the darkness of night. Can’t win ‘em all. This is a sign of how far Hollywood is willing to go in promoting an unapologetically feminist character; she needs a man to save her even if she manages to return the favor.

Episodic in form, and contained in mainly medium and close-up shots, “Whiskey Tango Foxtrot” blends America’s pointless Afghan war, comedy, intersecting political and cultural mores, with a thematically meaningful romantic thread. The nuanced tone of the movie is reflected in a military rescue mission that occurs at Dutch angles of blue and green lighting to the strains of Harry Nilsson’s “Without You.” The action is stylized to fit the genre, and the moment.

Whiskeytangofoxtrot

One of the film’s clearest themes states that gender doesn’t matter much; we all become products of our environment. In Kabul, “sex with strangers in restaurant bathrooms” comes with the territory for foreign journalists, and their bodyguards, regardless of whether they are men or women, much less pretty or average looking.

Once leaving her relatively sheltered life in the States, Kim Barker embraces her wartime environment in the “Ka-bubble” of Afghanistan. A watershed event occurs during her first embed outing. Her Humvee’s bulletproof windshield absorbs the first bullet fired by a group of angry Afghan warriors. Without missing a beat Kim jumps outside to videotape the action as she shadows an American marine like a monkey on his back. Her bravery (or professional rashness) earns her an “Oo Ra” from Billy Bob’s General Hollanek. Later, when Kim explains the reason that Marine-built wells keep being destroyed in a tiny village, we see a woman speaking truth to power in a way that has never before been shown in cinema. 

The disorienting storyline spans more than three years, during which time the fearless Baker becomes a battle-tested war journo looking for her next adrenaline fix. So much so that her Afghan fixer Fahim is compelled to read her the riot act over her irrational actions of late. Kim Barker hasn’t had much cultural sensitivity training.

Tina-Fey-Margot-Robbie

Kim gets a brief, and comical, introduction to Afghanistan from the first Western woman she meets, television reporter Tanya Vanderpoel (played by the impossibly lovely Australian Margot Robbie). Tanya hates to be “rude,” but just has to ask Kim for permission to have sex with Kim’s supposedly New Zealand-born bodyguard Nic. Kim gives her consent. She’s only thinking of her boyfriend back in New York. Still, Tanya encourages Kim to share in the practice of shagging your peers. When Kim demurs, Tanya blurts out the unthinkable, “Talk to me in two months when you pussy’s eating your leg.”

Normally I wouldn’t spoil a joke, but trust me; you’ll still laugh when you hear it. The irreverent zinger reflects the film’s precise use of coded ways that journalists, military officers, security forces, and afghan civilians and military communicate. When Alfred Molina's Afghan bureaucrat Ali Massoud Sadiq says he wants Kim to be his "special friend," we know what he means. 

Whiskey-Tango-Foxtrot2

The movie explicitly addresses American media’s nonexistent coverage of the war in Afghanistan during a meeting between Kim and Geri Taub (Cherry Jones), the head of the network that funds her reporting. Geri blames it on the public’s lack of interest in the war rather than even pretend to have an editorial mind of her own. The economic signal is clear. War is money, but the media can’t sit at the big table to profit from it anymore.

“The Navy says Who Ya, the Marines say Oo Ra; don’t mix them up.”

Rated R. 112 mins. (B+) (Four stars — out of five / no halves)

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March 31, 2015

WHILE WE'RE YOUNG

While We're YoungOvernight, Noah Baumbach has digressed from making sophisticated [uncharacteristic of the genre] mumblecore movies (see “Greenberg” and “Frances Ha”) to creating a gimmicky mid-life crisis comedy that pits Gen Xers against cunning mid-20s hipsters. Baumbach’s slippery slide toward entropy coincides with an up-tic in the annoyingness factor of Ben Stiller, an actor better suited to quirky supporting parts than leading-man roles. His principal performance in “Greenberg” was an exception because Stiller’s emotionally stunted character there was nothing if not eccentric. After watching “While We’re Young” you may never want to see another Ben Stiller movie again. I certainly don’t.

“While We’re Young” gets off to a bad start in its pairing of Stiller playing opposite the always-on-point Naomi Watts as a late-40s husband-and-wife duo with marital troubles. Talk about an utter lack of screen-chemistry, oil and water would go together better.

Naturally, the couple lives in Brooklyn, the belly of the beast for irritating hipster culture in America. Josh Srebnick (Stiller) is a frustrated filmmaker who busies himself teaching film studies at a university to stay properly distracted from completing a documentary he’s been working on for over a decade. His marriage is in a rut because Josh never gets around to taking a (much discussed but never acted-upon) vacation with his wife Cornelia (Watts). The couple’s best friends (played by Maria Dizzia and Beastie Boy Adam Horovitz) have recently had a baby, an event that has turned them into predictably insufferable bores obsessed with getting everyone they know to breed. If you sense that you’re in a pale Woody Allen-knock-off; you are.

Enter upstart hipster “documentarian” Jamie (Adam Driver) into Josh’s filmmaking class. Jamie ingratiates himself into Josh’s good graces with compliments regarding a little-seen short film (“Power Elite”) that Josh made during his youth. Josh’s rudderless girlfriend Darby (Amanda Seyfried) prides herself on attending hip-hop dance classes and making ice cream. Hipsters for sure.

While-were-youngBoth couples have things the other wants. Jamie wants to steal Josh’s professional identity, and jump in the sack with Cornelia whose father (Charles Grodin) happens to be a celebrated documentarian able to give him a hand up in the biz. Josh fancies playing big shot around his new apprentice, and stealing some of Jamie’s youthful energy to finally complete his film project. Cornelia gets in on the act, hanging out with Darby as her new best friend. Swinging might be in the offing.

It’s obvious that Noah Baumbach is attempting to pattern his New York-centric career on that of Woody Allen. Examples of stunt casting, similar to Allen’s modus operandi, run through this movie to less than stellar effect. If pairing Watts with Stiller weren’t clunky enough, Baumbach’s doubling down of a Jewish guy with a blonde partner (Jaime and Darby) reflects the director’s private relationship with Greta Gerwig.

Everything about the movie feels stunted. The jokes are half-hearted and the plot never arrives. “While We’re Young” is a movie that recedes while you’re watching it. The most satisfying thing about the picture is Adam Driver’s smarmy portrayal of a remorseless opportunist out to take every shortcut available to put himself on top in a society made up of other, less ambitious, phonies.

Driver-Stiller

Rated R. 97 mins. (C-) (Two Stars - out of five/no halves)

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March 20, 2015

GROWING UP & OTHER LIES

Growing-Up-and-Other LiesA current New York City zeitgeist, revealed in the recent indie effort “Loitering with Intent,” and now in “Growing Up and Other Lies,” proposes that New Yorkers (and ostensibly the rest of America) are suffering from mid-life crisis at an earlier age. What was once the province of the forty-something crowd has moved up by a decade or more.

This freshly blunted generation is an extension of the finally deceased Mumblecore cinematic movement (2002-2014) that wallowed in indolence and confusion for its nutrition. Mumblecore maintained willful ignorance as a way of escaping from commitment to anything not related to apathy, absurd behavior, or leaching off others.

Now, a new generation of (better educated but equally rudderless) hipsters define themselves by dressing poorly (in camouflage knee shorts and athletic socks) and by prattling on about what they should, could, or would do with their lives if they weren’t so busy being snotty to one another. With friends like these, you don’t need any enemies. Note to hipsters, camouflage is shitty enough when soldiers wear it outside of war zones, when you wear it; it makes people want to barf.

Meet artist-boy Jake (Josh Lawson), a New York City dweller with a broken heart and an urge to move back to Ohio to live with his dad. Jake’s three guy pals, who he’s barely seen in the past year, insist on taking Jake on a 260 block walking tour for “one last great adventure.” You know the scene, four youngish guys taking swigs from a bottle of booze and taking pee breaks like a pack of unleashed dogs.

The idea is that this mission of physically induced camaraderie will inspire Jake to stick around New York rather than retreat into America’s soul-dulling suburbs. Wyatt Cenac (“The Daily Show”), Adam Brody, and Danny Jacobs do honors as Jake’s almost multi-culti bros. Starting in Inwood, and inexplicably ending in Queens, the filmmakers keep the audience up-to-date on the journey with hand-drawn maps of Manhattan outfitted with block numbers to be scratched off. Everything about the movie has a sloppy, throwaway feel to it.

The film’s central philosophical quandary is summed up in a hypothetical situation about a robber who bursts into your house, puts a gun to your head, and posits a “Sophie’s Choice” question that you must answer in order to avoid being “shot in the face.” The implied male “You” can either choose to go on a two-week vacation to a remote country house with your “perfect” girlfriend of six months, and her parents. You must poop in the bathtub of the home’s only bathroom for the duration of your stay, and deny the disgusting deed. Or, you can choose to take two cars everywhere that you go, no trailers or assistance allowed.

AmberIf this little game sounds the least bit funny, entertaining, or significant in any way, then this movie is for you. If on-the-other-hand you find this diversion to be as dull and pointless as I did, then you have the option of choosing not to squander 90 minutes of you life on this disappointing movie whose only bright spot comes from Amber Tamblyn's performance in an under-used supporting role.

Not Rated. 90 mins. (D+) ( Stars - out of five/no halves)

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January 19, 2015

THE HUMBLING

Pacino’s Birdman
Forget About Iñárritu‬’s Movie — “The Humbling” is Better

HumblingAt nearly 75, Al Pacino’s face seeps with hints of the multitude of iconic characters he’s played over the course of his rich career as an actor of stage and film. The "Humbling's" opening sequence is a pure tour de force. Pacino’s Simon Axler character sits in his backstage dressing room of a Broadway theater warming up while putting on stage make-up for his role of Jacques in a production of Shakespeare’s “As You Like It.” As he stares into the mirror reciting Jacques's “all the world’s a stage” monologue, Simon questions his delivery. Can he convey the lines believably to himself? Call it a late-life personality crisis. When he does finally make it onto the stage, Simon barely gets out a few lines before taking a swan dive into the orchestra pit below. Finally, Simon can feel the literal rock bottom of truth he’s been seeking that can remove him from the burden of having to inhabit roles that blur together in his mind’s troubled state of what could be Alzheimer’s disease.

A 30-day stint in a glorified psyche ward, that’s more of a luxury rehab lodge than a hospital, puts Simon in the company of Sybil (Nina Arianda). Sybil is the shell-shocked wife of a pedophile she caught molesting her young daughter. Because of Simon’s past film roles in which he played an assassin, Sybil wants to hire him to knock off her husband. Simon’s utter rejection of her proposal only leads Sybil to stalk him after he returns to his upstate New York mansion estate.

Similarities to “Birdman” run through Barry Levinson’s thoughtful adaptation of Philip Roth’s 2009 novel of the same title. There are strong corollaries between Al Pacino’s aging actor Simon and the Riggan character played by Michael Keaton in Alejandro González Iñárritu‬’s “Birdman.” Both are older actors grappling with a lifelong quest for truth that they find easier to attain on stage than in their day-to-day lives. They each seek a divine obliteration of self before a mesmerized theater audience expected to parse out the factual from fictional substance of their adopted souls. Sticky stuff.

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In both films, our thespian leads find themselves locked out of their Broadway theaters just as they are about to walk on stage. The classic actor’s nightmare scenario sums up a mutually queasy psychological state that can only be assuaged by a cataclysmic shift in attitude as prodded by the people closest to them. But where “Birdman” unreliably dips its narrative toe into the waters of magic realism to realize its core truth, “The Humbling” connects the subconscious mind of its doddering protagonist to the desert of the real, which in this case arrives in the form of Pegeen (Greta Gerwig), a thirtysomething lesbian whose actress mother (Diane Wiest) did more than just play opposite Simon on stage more than thirty years ago. They shared a fling for which Wiest’s character still remembers the exact number of assignations.

The-HumblingPegeen harbors a crush on friend-of-the-family Simon for the imagined import of a prop ring he gave her as a gift when she was eight. Pegeen took it to mean they would someday be married. Romance and trouble lurk when Pegeen shows up at Simon’s door after breaking up with her lesbian lover with the intent of taking her long awaited place in his heart. The winter/summer relationship that develops between Pegeen and Simon has both good and bad effects on Simon’s life.

Greta Gerwig’s portrayal of Pegeen resonates with the complex layers of ambiguity that Philip Roth put into the character. Sensual and transformative, Pegeen is an irresistible creature whose past pattern of ruined romantic unions must eventually rear its thorny aspect.

Now that “Birdman” has collected awards and Oscar nominations, it’s sour grapes to suggest that an injustice has been done to “The Humbling.” Nonetheless, it ["The Humbling"] is a better movie.

Al pacinio

Rated R. 112 mins. (A-) (Four Stars - out of five/no halves)

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January 05, 2015

THE INTERVIEW

Burning Down the House
Don’t Blame “The Interview” for Starting World War III

Interview“The Interview” is a mediocre comedy that will go down in history for a plethora of reasons that have little to do with the film itself. It could mark the first time in history that a movie was used as an excuse to provoke a war.

None of “The Interview’s” supposedly outrageous satire, centered around a CIA-imposed assassination mission against North Korea’s leader Kim Jong-Un by a couple of bumbling American talk show hosts, comes close to the U.S. government’s attempts to leverage a Sony Pictures email hacking incident into an excuse to impose more sanctions against North Korea.

In November 2014 Sony Pictures’ (the “Interview’s” production company) internal email system was hacked into. No one knows who did it, but current evidence points to a disgruntled ex-employee of Sony. Despite clues pointing elsewhere, including to Russia, the FBI immediately cast blame upon North Korea for the intrusion for reasons about as tenuous as the ones used in the movie to support killing the country’s leader. North Korea angrily denied any participation in the hack.

President Obama made an unprecedented speech chastising Sony executives for succumbing to the hacker’s demands that they not release “The Interview” for fear of terrorist retribution against cinemas and audiences. Following on the heels of Obama’s questionably “comic” performances on such programs as “Between Two Ferns” and “The Colbert Report,” the President’s indecorous remarks seemed more like a cartoonish publicity stunt designed to increase profits for a movie that Sony then went on to release across theatrical and on-demand outlets anyway. The stir caused some American art-house cinemas to replace their scheduled programming of classic, independent, documentary, and foreign films with “The Interview.” Hmm.

The Obama administration has used the situation to name ten North Korea-related individuals implicated in illicit activities (including weapons sales) that it plans to sanction (presumably with actions such as seizing their bank accounts). It has also launched an all-out cyber war with North Korea by temporarily shutting down the country’s Internet, twice.

EminemWhatever the government’s profiteering motivations for overreaching in such a grotesque manner, some ironic if sad identifiers come though during the “Interview’s” payoff discussion sequence inside Kim Jong-Un’s palace. James Franco’s smarmy celebrity host character Dave Skylark has a list of burning questions with which he intends to publically humiliate Kim Jong-Un (Randall Park). Skylark rings a blaring bell of hypocrisy that cuts close to the bone of America’s own well-documented issues with hunger when he asks the North Korean leader why he allows 32 million of his citizens to go hungry. Many millions of Americans suffer malnutrition every day (check out the absurdly bland term “food insecurity”), but you don’t see anyone asking Obama why he allows “his” people to go hungry.

One thing that anyone with a halfway decent BS detector intuitively knows is that the corporate-controlled US Government is using a Hollywood movie as an excuse to overreach and double down on an all-too-obvious political attack against a country with which America shares perhaps a few too many similarities.

As with every other massive political scandal (see the NSA) in the U.S., nothing will happen when the cyber criminal(s) responsible for the Sony hack are identified as being unrelated to North Korea. It is already too late. The Obama Administration used a dumb movie as an excuse to execute plans it had laid out far in advance. Why they sank so low as to use a satirical movie as the excuse is the big question, and I believe I have the answer: they want to be caught so that they can prove once again that the US Government can do whatever the hell it wants without having to be accountable. If you think North Korea is contemptible, the Obama Administration has handily proven that Kim Jong-Un and his crew have nothing on the good ole US of A.

Interview

Rated R. 93 mins. (C) (Two Stars - out of five/no halves)

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