Steve Coogan and Rob Brydon take a foodie road trip through the north of England. Brydon is a compulsive impressionist, and he speaks more often in the voices of Woody Allen, Al Pacino, Anthony Hopkins, Richard Burton, et al than in his own. That’s entertaining, but when Coogan provokes a duel with their Michael Caine and Sean Connery impressions, it gets even more funny.
Along the way, they dine at some pretty tasty looking restaurants, but always with an edge: “It has the consistency of snot, but it tastes great”. There is definitely some food porn, but not quite enough to make my list of 10 Food Porn Movies.
This couldn’t have been made in the US, but fortunately the Brits have made the terrorist equivalent of Waiting for Guffman. A group of homegrown Brits of Pakistani heritage decide to join the jihad and try to organize a terror mission. Fortunately, the smartest one is both inept and unlucky, and each of the others is dumber than the last. The cell’s intramural competition reminds me of the hilarious People’s Liberation Front scene in Monty Python’s Life of Python.
Ewan McGregor’s dad (Christopher Plummer) has just died, shortly after coming out of the closet. As if this weren’t enough to deal with, McGregor is a depressive anyway, with a rich history of sabotaging his relationships. But then he meets Melanie Laurent (Inglorious Basterds) (and they meet cute).
This is a winning comedy – one of the year’s best movies. It’s smart, sweet and original. All of the performances are excellent, especially Plummer’s, which should garner him an Oscar nomination. All in all, Beginners is a notable achievement by director Mike Mills (Thumbsucker).
On June 18, Turner Classic Movies is broadcasting this 1934 screwball comedy, which holds up as well today as it did 77 years ago. A flamboyantly narcissistic Broadway producer (John Barrymore) has fallen on hard times and hops a transcontinental train to persuade his former star (Carole Lombard), now an A-list movie star, to headline his new venture. Barrymore’s shameless self-entitlement and hyper dramatic neediness makes for one of the funniest performances in the movies.
The Hangover Part II has its moments (the buddies lose a little brother on a wild night in Bangkok) , but is just not as gut-busting funny as The Hangover. Not so much sequel as photocopy, the same story loses its impact the second time through. Right from the start, when they awake memory-free in a trashed hotel room, their discoveries just don’t match up to the comic value of the missing tooth, the tiger and the baby in The Hangover. The revelations in Part II are just as extreme, but they just don’t register as funny.
The one original thought is when we see what’s in the socially retarded Zach Galifianakis’ brain – and we learn that he sees the buddies as his crew of 13-year-olds. But that’s really the only imaginative part of the movie.
And now for some sexy silliness. Director Gregg Araki created the brilliant and searing Mysterious Skin, but here he’s just having fun. In the first hour of Kaboom, I lost track of how many characters had sex with each other – it’s just about non-stop and guy-on-guy, girl-on-girl, guy-on-girl, guy-and-girl-on-guy, etc. I would characterize the sex as casual, but that would make it seem that the characters were having even a modicum of difficulty in finding partners. Anyway, the chaotic sexathon is very funny. The last twenty minutes takes the film into a campy version of a paranoid apocalypse film, before an abrupt (and I mean abrupt) ending. Did I mention the bad guys in the animal masks? It’s fun and doesn’t take itself too seriously. Have two cocktails and then pop in the DVD.
With Midnight in Paris, Woody Allen has made his best movie since 1986’s Hannah and Her Sisters. It’s a funny and wistful exploration of the nostalgia for living in another time and place – all set in the most sumptuously photographed contemporary Paris.
Successful but disenchanted screenwriter and would be novelist Owen Wilson accompanies his mismatched fiancée Rachel McAdams to Paris, where he fantasizes about living in the artistically fertile Paris of the 1920s. Indeed, at midnight, he happens upon a portal to that era, and finds himself hanging out with the likes of Hemingway, Fitzgerald and Stein. He meets Marion Cotillard, a 1920s gal who is herself nostalgic for the 1890s.
Midnight in Paris shines because of the perfectly crafted dialogue. McAdams’ every instinct is cringingly wrong for Wilson. She is enraptured by the pretentious blowhard Michael Sheen, who couldn’t be more insufferable.
As usual, Allen has attracted an excellent cast. Owen Wilson rises to the material and gives one of his best performances. Corey Stoll is hilarious as Hemingway and Adrien Brody even funnier as Salvador Dali. Cotillard is luminous.
Bridesmaids is a funny movie, but one that could have been much better. In a role that she wrote for herself, Kristen Wiig plays a woman whose insecurities keep her from seeing the good and the possible in her life. Instead, she wreaks havoc on her best friend’s wedding planning and is about to sabotage a sweet romance with Chris O’Dowd. So far, so good.
Producer Judd Apatow salted Wiig’s screenplay with some low brow stuff. Now, I like to see gals at an upscale wedding boutique puking on each other and shitting themselves as much as the next guy (and it was the guys in the audience that were laughing the most at that scene). But the Apatow additions didn’t quite mesh with the central story.
Still, we can conclude that Kristen Wiig has what it takes to carry a movie by herself. Hopefully, next time she’ll get her script greenlighted as is.
This brilliantly funny movie is one of Preston Sturges’ less well known great comedies. Eddie Bracken plays a would-be soldier discharged for hay fever – but his hometown mistakenly think that he is sent home a war hero. Hilarity ensues. All the funnier when you realize that this film was made in 1944 amid our nation’s most culturally patriotic period.
Turner Classic Movies broadcasts Hail! The Conquering Hero several times a year, and a new DVD has been released today.
James Coburn and James Garner in The Americanization of Emily
Turner Classic Movies is broadcasting the 1964 The Americanization of Emily on April 7. Set in England just before the D-Day invasion, The Americanization of Emily is a biting satire and one of the great anti-war movies. James Garner plays an admiral’s staff officer charged with locating luxury goods and willing English women for the brass. Julie Andrews plays an English driver who has lost her husband and other male family members in the War. She resists emotional entanglements with other servicemen whose lives may be put at risk, but falls for Garner’s “practicing coward”, a man who is under no illusions about the glory of war and is determined to stay as far from combat as possible.
Unfortunately, Garner’s boss (Melvyn Douglas) has fits of derangement and becomes obsessed with the hope that the first American killed on the beach at D-Day be from the Navy. Accordingly, he orders Garner to lead a suicide mission to land ahead of the D-Day landing, ostensibly to film it. Fellow officer James Coburn must guarantee Garner’s martyrdom.
It’s a brilliant screenplay from Paddy Chayefsky, who won screenwriting Oscars for Marty, The Hospital and Network.
Today, Americanization holds up as least as well as its contemporary Dr. Strangelove and much better than Failsafe.
Reportedly, both Andrews and Garner have tagged this as their favorite film.
One of the “Three Nameless Broads” bedded by the Coburn character is played by Judy Carne, later of Rowan and Martin’s Laugh-In.
