Good Cop/Goofy Cop

COP OUT (Dir. Kevin Smith, 2010)

“It’s a homage.” So says goofy rubber faced plainclothes cop Tracy Morgan of his unorthodox interrogation methods to his partner of 9 years, a stonewalling yet smirking Bruce Willis. These methods are going to be familiar to anyone who’s ever watched 30 Rock – Morgan does his patented crazy shtick.

As Willis watches through a one way mirror, Morgan freaks out their suspect by yielding a gun and yelling movie quotes like “they call me Mister Tibbs,” and “these aren’t the droids you’re looking for” even going for “Yippee–ki–yay, motherfucker!”

Willis, in his definitively detached manner, says: “I never saw that movie.”

If that sounds funny to you, ignore the rest of this review and go see this movie – more such supposedly uproarious self-aware referencing awaits.

Cool, now that those people are gone I can tell the rest of you that this is one painfully unfunny film. Though it wasn’t written by Kevin Smith (the screenplay is by Robb and Mark Cullen) it feels like it was in the worst way – at Smith’s most hammiest and hackiest. It strains with every cut to elicit laughs, but cringes are what result from this tired and truly tiresome material.

What there is of a premise involves Mexican gangsters headed by Guillermo Diaz, Seann William Scott as an annoying thief, and a stolen baseball card worth 80 thousand dollars. The card belonged to Willis, who was hoping to use it to pay for his daughter’s (Michelle Trachtenberg) dream wedding. Otherwise Smith regular Jason Lee as Willis’ wife’s smarmy new husband will pay for it and humiliate him. Ho hum.

Morgan meanwhile deals with his wife’s (Rashida Jones) possible infidelity with a neighbor by placing a nanny cam in a teddy bear in their bedroom. So both cops drive around Brooklyn from one poorly constructed plot point to another bitching about these hardships while barely creating an audible chuckle from the audience.

One of the only inspired elements present is the soundtrack. It was a savvy move to employ famed electronic composer Harold Faltermeyer to do the score. His “Axel F”-ish waves of synthesizer and jaunty rhythms work better than anything else in the film to capture the genre aesthetic. A new Patti LaBelle song (“Soul Brothers”) accompanying the end credits also hammers home the 80’s mindset.

You’re better off sticking with watching Morgan on 30 Rock from which he even does some of the same lines (“you’re sweet like bear meat”) and renting HOT FUZZ if you haven’t seen it. Now there’s a sharp satire of the buddy cop action movies.

COP OUT is a lot like Morgan’s misunderstanding (and mis-pronouncing) the word “homage” – it’s not a send up or anything close to a fresh take on the formula, it’s just formula.

More later…

ZACK AND MIRI MAKE A PORNO – The Film Babble Blog Review

ZACK AND MIRI MAKE A PORNO
(Dir. Kevin Smith, 2008)

Seems like the world of movie comedy has passed Kevin Smith by these days.

From the many Judd Apatow approved projects to the likes of Ben Stiller, Will Ferrell, and Adam Sandler dominating the raunchy guy genre is there really any place or need any more for Jay and Silent Bob?

Well, thankfully they’ve been left behind (though Jason Mewes does show up) for Smith’s new chance to play catch-up and show he can still make with the crude and rude gross-out gags. Highjacking major Apatow-player Seth Rogen and basking in the low budget roughness in which he created his best work, Smith gives us Rogen and Elizabeth Banks (also a Apatow veteran) as broke best friend room mates who…oh, you know the title.

The use of the word “porno” has caused mild controversy with some markets refusing its title and original promotional images were changed to feature stick figures to both appease the MPAA and make cheap fun of it.

The film was heavily edited to avoid a NC-17 but I doubt any of that material was any dicier or outrageous as the film wants itself to be. The lowdown is that it’s filled with scads of scatological humor, which is mostly tossed of in casual banter, and a lot of nudity (filmed in probably the most unsexy way I’ve ever seen) but nothing that would shock anybody who hasn’t seen the trailer and got already the gist.

That’s not to say it isn’t fairly funny and very watchable – Rogen and Banks are good together with amusing turns from the obligatory real porn star cameo by Traci Lords, Smith stock company member Jeff Anderson (Randal from CLERKS), and the bemused Craig Robinson (The Office, PINEAPPLE EXPRESS).

It appears from the duo’s ideas for a adult movie effort to help pay their bills that Smith’s pop culture reference lingo has really dated – enough with the STAR WARS whatnot! “Star Whores”? Really witty, Kevin. The Star Bucks stand-in “Bean ‘N Gone” that Rogen and Banks work and are forced to film their porno project at (further echoes of CLERKS) reeks of left-over retail complaints you’d think that Smith would be over at this point.

Smith delights in characters and premises that refuse to mature and that’s fine, I just wish his film-making would grow up. Crude, badly cut, and just barely holding the narrative together, this movie is not the work of a polished confident director though I bet he would take that as a compliment.

Rogen carries a lot of the film on his affable back, rolling with a laid back nature while Banks’ spirit and go-with-it timing are a welcome contrast to her current portrayal of Laura Bush in W. They’re both big reasons to see this movie whatever your views on the View Askewniverse. ZACK AND MIRI… has the soul of an 80’s teen movie, most definitively the oeuvre of John Hughes.

Its heart and motives are a pastiche of well worn tried and true predictability – the funny audition sequence, the on-the-fly dance number, the aim to make a distinction between sex and “making love”. The fact that it has a heart probably won’t concern those who want old school Kevin Smith shenanigans so the best I can say there is that this is much better than CLERKS II. ZACK AND MIRI MAKE A PORNO has too much worthy competition (PINEAPPLE EXPRESS, TROPIC THUNDER, FORGETTING SARAH MARSHALL) to be considered one of the best comedies of the year yet it is still likable enough even though it’s not as laughable as I would’ve liked.

More later…

Pop Culture 101: Today’s Class – KNOCKED UP

I finally got to see Judd Apatow’s hit comedy KNOCKED UP (newly released on DVD) which I really regretted missing last summer in the theaters. I thought it was very funny though it was more of a James L. Brooks style drama than I expected – the 2 hour 13 min. running time should have tipped me off. What really got to me about this anti rom-com about slacker stoner Ben (Seth Rogen) unintentionally impregnating way-out-of-his-league Allsion (Katherine Heigl), is the incredible amount of pop culture referencing going down. The abundance of name dropping, bad impersonations, and snarky wise-cracks would put Kevin Smith and Quentin Tarentino to shame! It’s almost like without these media touch points these people would have nothing to talk about at all. Since I would have nothing to talk about without them let’s take a look at the cinematic schooling KNOCKED UP provides us in pop culture profundity:

WARNING : Many Potential Spoilers

A large percentage of the riffing comes from Ben’s room-mates (Jason Segel, Martin Starr, Jay Barachel, and SUPERBAD‘s Jonah Hill – who all use their real names in the movie). They all have a what they call “the dirty man competition” – a bet that air-headed Martin can’t grow his hair and beard without cutting or shaving for a year. If he lasts that long they have to pay his rent for a year – If he caves and shaves he’ll have to pay all of their rents for a year. So they hurl insults relentlessly at him – calling him SERPICO, Charles Manson, Chewbacca by way of Jay’s horrible impression, and Jonah asking him if he had a hard time changing his name from Cat Stevens to Yusef Islam. Martin: “yeah, it was awkward.”

The gang has a website in the works – Ben’s pitch: “only at fleshofthestars.com * will customers be able to find exactly into what movie their favorite stars are exposed”. It seems to be a premise created soley to riff on Jamie Lee Curtis’ infamous full-frontal in TRADING PLACES, Julianne Moore’s pantless appearance in SHORT CUTS , we actually see them watch the Denise Richards/Neve Campbell lesbian love scene in WILD THINGS on TV, and Meg Ryan’s nude scenes in IN THE CUT. To their later dismay Pete (Paul Rudd) tells Ben there is already a celebrity nudity website called Mr. Skin. Ben rationales – “Good things come in pairs you know? VOLCANO, DANTE’S PEAK. DEEP IMPACT, ARMAGEDDON, right? WYATT EARP, TOMBSTONE.” To which Jay adds – “Panda Express, Yashinoya Beef Bowl.”

* Yep, it’s a real site now.

Random Reference Riffing :

Shortly before Ben and Heigl meet, the guys discuss Speilberg’s MUNICH – all agreeing on its awesomeousity. Ben : “Dude, every movie with Jews we’re the ones getting killed. MUNICH flips it on its ear. We’re capping motherfuckers!” They all drink to Ben’s proclamation – “if any of us get laid tonight it’s because of Eric Bana in MUNICH!”

Paul Rudd’s character Pete is a A & R guy for some never named record label. Photos of him with Elvis Costello and framed album covers (Tom Petty and the Heartbreakers “Damn The Torpedos” can be seen a few times) decorate the walls of his suburban home. Pete does a number of impressions throughout the film including Robert Deniro (not bad) and in the deleted scenes – Austin Powers (awful). He and Rogen disagree on music – Ben: “If I ever listen to Steely Dan, I want you to slice my head off with an Al Jarreau LP!” The most defining straight-forward statement that Pete makes of course is encased in pop culture – “marriage is like that show, Everybody Loves Raymond but it’s not funny.”

Pete and wife Debbie (Leslie Mann – Judd Apatow’s real-life wife) have kids (played by Apatow’s daughters Maude and Iris) who argue over whether to listen to the soundtrack to “Rent” or the band Green Day from the back seat of Allison’s car on the way to school. Not far from the tree obviously.

Of course you’ve got to have a “boy loses girl” 3rd act conflict development with both couples spliting temporarily. Ben and Pete take a trip to Las Vegas in which they plan to take mushrooms (acquired by Pete from a roadie for The Black Crowes no less) and go see Cirque de Soleil quoting SWINGERS all along the way – “you’re so money!”

On a hotel room TV a scared Ben, tripping out of his mind on those Crowes roadie ‘shrooms, watches CHEAPER BY THE DOZEN (we see shots of Steve Martin running around surrounded by his kids’ wacky shenanagins) and remarks “He’s got 12 kids…that’s a lot of responsibility to be joking about. That’s not funny.”

When Ben starts getting his life together and moves out of what was essentially a clubhouse into a respectable apartment he replaces his framed Bob Marley smoking a big ass spleef poster (obviously pictured on the right) for a ETERNAL SUNSHINE OF THE SPOTLESS MIND poster which he hangs in the soon to be nursery.

Dr. Kuni (Ken Jeong) who delivers the baby angrily tells Ben in the hallway – “if you want a special experience go to a Jimmy Buffett concert!” In the bonus features there is a line-o-rama feature that has dozens of alternate lines for many scenes. There’s an amusing run with trying out variations on the Jimmy Buffett line – some examples: “go to Disneyland”, “go to freaking Busch Gardens”, “go to Korea”, and “go to my apartment, it’s phenomenal.”

Another run on the line-o-rama has Jonah Hill saying “Mr. Skin is like the Beatles and we’re like the Monkees” and “Mr. Skin is like Alec Baldwin and we’re like Billy Baldwin.”

The opening credits sequence shower scene from CARRIE is viewed by Ben and Allison for further fleshofthestars.com research.

Loudon Wainwright III plays Dr. Howard and also contributes the songs “Daughter”, “Grey In L.A.”, and “Lullaby” to the soundtrack.

One of the deleted scenes has Jonah spouting out a hilarious rant about BROKEBACK MOUNTAIN which he says “was made by, like, fuckin’ homophobes in my mind!” He drags MASTER AND COMMANDER and Bruce Willis’s full frontal in COLOR OF NIGHT down into his profanity filled diatribe.

Harold Ramis makes a nice (albeit too brief) showing as Ben’s father. He attempts to console his son in an extended scene with an Indiana Jones analogy – “So, he could be like little Indy and you could be Sean Connery.”
Ben: “Or, I could be the guy that got melted when he looked in the Ark.”

Uncredited cameos by obvious Apatow and Co. friends Steve Carrell, James Franco (plugging SPIDERMAN 3 which was released at the same time as KNOCKED UP and is mentioned several times), and Andy Dick are brief blips on the reference radar – helped by Heigl’s character being a reporter for E! Entertainment Television. That definitely hooked up the attitude-infused Ryan Seacrest appearance. Also swift bit parts from SNL‘s Kirsten Wiig and Bill Hader should be noted too.

Whew! That’s a lot of TRAINSPOTTING for one movie. I didn’t even mention the mentions of Robin Williams, Taxicab Confessions, Martin Scorsese, Cartman from South Park, Doc Brown from BACK TO THE FUTURE, Ben’s Mr. Bill T-shirt, Pete’s Tom Waits “Rain Dogs” T-shirt, Vince Vaughn, Matthew Fox from Lost, Fellicity Huffman from TRANSAMERICA, as well as Ben and gang’s posters of Pink Floyd, Hunter S. Thompson, and Fraggle Rock. Okay, now I ‘ve mentioned them.

There will be a test on all this so I hope you took good notes.

More later…

10 Movie Moments That Broke The 4th Wall

“What a pisser!”
– Ted Striker (Robert Hays) turning to the camera after being told off by girlfriend Elaine (Julie Hagerty) in AIRPLANE! (Dirs. Jim Abraham, David & Jerry Zucker 1980)

Here I go again with another meta-movie list! The phrase “breaking the fourth wall” has been around for over a century. Though as a concept it’s been around since before Shakespeare the phrase itself originates from the theater of Bertolt Brecht. It simply meant that a character makes an aside to the audience. Through the invisible wall those watching are addressed, acknowledged and made to feel a little more “in on the joke” so to speak. It’s a device used a lot more in television than on film. In the 80’s it even became fairly fashionable on such shows like Moonlighting and It’s Garry Shandling’s Show – a show that had as its entire premise comedian Shandling talking directly to the studio audience and the viewers at home. The Marx Brothers may have pioneered the concept in cinema with Groucho’s many knowing winks but Bob Hope really nailed it in the seminal road movies he made with Bing Crosby which is where we’ll begin :

1. ROAD TO MOROCCO (Dir. David Butler, 1942) Bob Hope is the reigning king of breaking the 4th wall for this classic alone. His character Oliver ‘Turkey’ Jackson has an immortal momment when he loses his detached wiseacre demeanor when he desperately declares “I can’t go on! No food, no water. It’s all my fault. We’re done for! It’s got me. I can’t stand it! No food, nothing! No food, no water! No food!” As the voice of reason his friend Jeff (Bing Crosby) says “What’s the matter with you, anyway?…We’ll be picked up in a few minutes.” Hope in all his irrefutable glory responds “you had to open your big mouth and ruin the only good scene I got in the picture. I might have won the Academy Award!” That’s par for the course in a movie that actually has a camel comment – “This is the screwiest picture I was ever in.”

2. ON HER MAJESTY’S SECRET SERVICE (Dir. Peter R. Hunt, 1969) This is seriously significant because breaking the 4th wall was used to break in the new Bond. George Lazenby had one of the hardest jobs in cinema history – to be the first to fill the shoes of Sean Connery in the iconic role of 007. To make matters even more intimidating this was a Bond adventure with substance – one that he gets married in for Christ’s sake! His intro had to matter – it had to have him make a mark and it had to acknowledge the audience’s incoming notion that this guy wasn’t the guy they were used to.

So in what every Bond picture has – a cold opening we see Bond tooling around Portugal in his classic Aston Martin having an instant of near road-rage (we don’t see his face in close-up), parking to watch the driver (Diana Rigg) that cut him off attempting suicide by walking into the ocean. He watches through a gun sight mind you. He frantically pulls his car down and runs out to the beach to save her. He drags her out of the water and we get to see his face as he does the customary intro “Bond, James Bond” but immediately adversaries are on his back. A moon-lit beach fight ensues and of course Bond defeats his attackers but Rigg departs eschewing all pleasantries. After picking up her discarded shoes Lazenby remarks “this never happened to the other fellow”. Priceless for many reasons but chiefly because it acknowledged that there was a much loved “other fellow” and while Lazenby didn’t look directly into the camera ‘til after he said the line – the self consciousness was reigned in. Didn’t save him from being a Bond one-termer but still.

3. ANIMAL HOUSE (Dir. John Landis, 1978) According to IMDb this is a Landis trademark : “He often has his characters look into camera lens to make eye contact with the audience or ‘break frame'”. It’s true – it is all over his film work but most definitively when the late great John Belushi climbs up a ladder to view naked sorority girls and when getting what he thinks is a “money shot” turns to do his eye brow signature right at us. As a close tie – the scene in TRADING PLACES when the Duke brothers (Don Ameche and Ralph Bellemy) condescendingly try to school Billy Ray Valentine (Eddie Murphy) about commodities. Murphy looks directly at us at a key moment in a “how stupid do they think I am?” look. Another trademark breaking the 4th came a few years later in SPIES LIKE US – this time Dan Aykroyd and Chevy Chase were trying to do their version of a Hope/Crosby road movie. During a stressful scene when our beloved SNL bumblers were pretending to be medical staff in Soviet Central Asia – the king of 4th wall demolition – Bob Hope himself appears as if in perpetual golfer mode – “Ah! Mind if I play through? (acknowledges Ackroyd and Chase) Doctor.. Doctor.. I’m glad I’m not sick.”

* While this is indeed a Landis trademark on the TRADING PLACES commentary Eddie Murphy says it came from being so used to mugging at the camera on Saturday Night Live.

4. FERRIS BUELLER’S DAY OFF (Dir. John Hughes, 1986) There are many instances of Hughes’s characters talking directly to the camera but Ferris Bueller (Matthew Broderick) is purely definitive as a narrator, commentator, and chastizer – like Animal in THE MUPPET MOVIE he even tells the audience to go home at the end. His great moment in breaking the 4th walldom is when he informs us on the best methods of faking sick to get out of going to school (as if you didn’t know the premise). I believe this is one of the reasons that this is former Vice President Dan Quayle’s favorite movie. After his parents exit Ferris looks us in the eye and says “Incredible! One of the worst performances of my career and they never doubted it for a second.”

Special mention goes to PRETTY IN PINK (1986) At the prom conclusion Ducky (Jon Cryer) looks directly in the camera and knowingly nods after being given a come-on look by a girl on the dance floor.

5. JAY AND SILENT BOB STRIKE BACK (Dir. Kevin Smith, 2001) – As a self pro-claimed Hughes disciple Smith has to work the ‘to camera asides’ but in this movie he may have overdone it a tad. For example – playing themselves Ben Affleck and Matt Damon have a fight on the set of the fictitious GOOD WILL HUNTING 2 : HUNTING SEASON (Yes I know, another film within a film) in which Affleck tries to school Damon :

“You’re like a child. What’ve I been telling you? You gotta do the safe picture. Then you can do the art picture. But then sometimes you gotta do the payback picture because your friend says you owe him.”

They both turn and look at the camera for an obvious dig at Smith.

The overdoing it comes from this bit in the same film also involving Affleck who this time plays his CHASING AMY character Holden who warns – “I mean, I don’t think I’m alone in the world in imagining this flick may be the worst idea since Greedo shooting first. You know it, but… a Jay and Silent Bob movie? Feature length? Who’d pay to see that?” Holden, Jay (Jason Mewes), and Silent Bob (Smith) all look right at us – and to really set things off – Silent Bob gives a smiling double thumbs-up.

6. TOP SECRET (Dir. Jerry Zucker, 1982) – There are many audience acknowledging nods throughout the Zucker Brothers canon like the one quoted at the top of this blogpost but this Zucker scene really drives the point home : Val Kilmer’s Elvis derived 50’s heart throb singer Nick Rivers pours his heart out : “Listen to me Hillary. I’m not the first guy who fell in love with a woman that he met at a restaurant who turned out to be the daughter of a kidnapped scientist only to lose her to her childhood lover who she last saw on a deserted island who then turned out fifteen years later to be the leader of the French underground.” Hillary (Lucy Gutteridge) responds “I know. It all sounds like some bad movie.” They both recoil then look our way as if to say ‘did you get that?’ And speaking of ‘getting that’ :

7. SPACEBALLS (Dir. Mel Brooks, 1987) After being given the plot synopsis Dark Helmet (Rick Moranis) looks at the camera and says “Everybody got that?” but most notably is the scene in which he and his minions actually put in a videocasette of SPACEBALLS to see what happens next and see themselves looking at themselves onscreen. Dark Helmet says : “what the hell am I looking at? When does this happen in the movie?” Colonel Sandurz (George Wyner) responds : “now. You’re looking at now sir. Everything that happens now, is happening now.” Too bad this didn’t help this decade too late STAR WARS satire to be more “in the moment”.

8. JFK (Dir. Oliver Stone, 1991)
I know, I know – every list I make has this film on it. Not only because it’s one of my all time favorite films but it does hold the monopoly on movie extras – deleted scenes, cameos, edits, and cinema contrivances galore confirm that it’s forever bloggable. That aside I really couldn’t leave out the moment that Garrison (Costner) wraps up his lengthy court summation by saying : “We, the people, the jury system sitting in judgement on Clay Shaw represent the hope of humanity against government power. In discharging your duty to bring a first conviction in this house of cards against Clay Shaw ‘ask not what your country can do for you but what you can do for your country’. Do not forget your dying king. Show this world that this is still a government ‘of the people, for the people and by the people’ Nothing as long as you live will ever be more important – it’s up to you.” As the camera goes upward but still holds Costner’s direct camera gaze we get a feeling that this breaking the 4th wall stuff isn’t just comedy kids stuff. Which brings us to :

9. WAYNE’S WORLD (Dir. Penelope Spheeris, 1992) Like Eddie Murphy Mike Myers has a SNL mugging at the camera background and the characters here come from a cable access show in which they talk directly to the camera so of course they would continue to bash holes in the ever so fraglie fourth wall. Funnily enough they use it to satirize product placement at the same time. Wayne tells sleazy TV exec Rob Lowe that he”will not bow to any sponsor” as he poses with a bag of Doritos, a piece of pizza from Pizza Hut, takes some Nuprin, and tops it all off with a swig of Pepsi. He grins at us and even says the slogan “it’s the choice of a new generation.”

10. THE MUPPET MOVIE (Dir. James Frawley, 1979) Kermit and the other Muppets (my word program insists this should be capitalized) regularly consult the screenplay on their journey to stardom so it’s unsurprising but still hilarious when Floyd Pepper (Jerry Nelson) says “well, if this were the movies…” and Dr. Teeth (Jim Henson) adds “which it is”, Floyd continues “…we’d think of a clever plot device” then Scooter (Richard Hunt) energetically finishes “like disguising their car so they won’t be recognized!” Yep, when in doubt just think of how it would be done in the movies. It’ll save you every time.

Okay! That’s enough meta-movie mania for right now – gotta go star in my own movie. Good luck with yours.

More later…

Apatow Arrives Again

So apparently from just about everything I read on the internets writer/producer/director Judd Apatow is the new king of cinema comedy. Apatow, whose credits include the cult TV series Freaks And Geeks, the 2005 hit THE 40 YEAR OLD VIRGIN, and KNOCKED UP which was an early summer smash, now has another #1 movie – SUPERBAD (reviewed below). But wait a minute – he didn’t direct SUPERBAD. As this amusing New York Magazine blogpost tells us Greg Mattola did – Apatow was the producer. So why does it seem so much like Apatow was the director? Well, interviews with the cast members who pretty much were all in KNOCKED UP talk about taking notes from Apatow as much or more than they do Mattola and the film has more than one critic considering it part of Apatow’s series of immature-male-moves-forward-movies. Makes some sorta sense for this mass confusion I guess.

So on to the movie itself :

SUPERBAD (Dir. Greg Mattola, 2007) If you’ve heard anything about this movie you know the drill – we spend the day with a few foul mouthed teenagers trying to get laid. Yep – it’s like a zillion 80’s sex comedies as well as a homage to them at the same time. Seth Rogan and Evan Goldberg wrote the semi-autobiographical screenplay when they were teenagers but got too old to play the parts themselves. So now we’ve got Seth (Jonah Hill) and Evan (Michael Cera) filling in and a great pair they are. Their kind of chemistry can’t be faked and when joined by Fogle (more referred to as McLovin because that’s his name on his fake ID) played by Christopher Mint Plasse, a lot of hilarious riffing flies through the air. McLovin has his own sideline adventure when he bemusedly befriends a couple of inept cops played by Rogen (he had to put himself in the movie somehow) and Saturday Night Live’s Bill Hader. That bit, while it contains some big laughs, feels more like a comic convention than say, some of the other true to life sloppy shenanigans on display. Much better than your average teen flick these days (and better than anything Kevin Smith has done in ages) SUPERBAD isn’t for those who dislike lots of profanity and dick jokes but just about everybody else will find it really funny.

And Now A Recent Release DVD :

THE LOOKOUT (Dir. Scott Frank, 2007) After a prom-night joyride turns deadly, survivor Joseph Gordon-Levitt lives a quiet life with a blind mentor room-mate (Jeff Daniels) spending most of his time dealing with his guilt and trying to get his sequencing in order. You see – his mind still hasn’t recovered from the accident and he has to constantly take notes to remind himself of the order of his day’s events. He’s not as extreme a case as the guy from MEMENTO but far from fully functional. Gordon-Levitt works as a night-shift janitor in a small bank and is being targeted to be an unwilling participant in a bank heist by a gang of pure movie thugs led by Matthew Goode. This is where the conventions of Gordon-Levitt’s condition are exposed as just another piece in the contrived plot puzzle. It seems to take place in a world with only a handful of characters including a friendly bumbling cop who brings Gordon-Levitt doughnuts and whose fate we can see coming way in advance. Also annoying is the thunderous rumbling sound that’s dubbed onto just about every scene. You know, the sound from so many thriller trailers – usually paired with quick cuts to underscore tension and jar us. It’s a suspense string pulling manipulation – CUT IT OUT! Despite the good acting and some solid direction throughout (the sequencing is in perfect order) it’s unfortunate that a routine heist plot is the order of the day. Gordon-Levitt is good though – he proves that like his intense turn in BRICK that he can handle weighty material. With hope next time around he’ll get something weightier than this.

More later…

DVD Babble Blurb Bash-tacular!

I have seen a lot of recent DVDs over the last few months that I haven’t been blogged about so I thought it would be good to take a break from the summer sequel season and round up a handful and square them off. I tried to keep it in a brief blurb format but since this is film BABBLE the reviews of course wind on and on. Let’s start with –

New Release DVD Recommendations :

LETTERS FROM IWO JIMA (Dir. Clint Eastwood, 2006) Word was that this was vastly superior to FLAGS OF OUR FATHERS but this politically correct companion piece is roughly the same quality in my estimation. Told from the Japanese point of view entirely in their language with sub-titles LETTERS has the same sense of earnest honor and the same grey overcast tint. The standout characters are General Tadamichi Kuribayashi (Ken Watanabe) the young Saigo (Kazunari Ninomira) who run into each other more than once in the tunnels between Mount Saribachi and the north side of the island as bombing and ground attacks by the American troops rage above. The melodrama involving the sympathy that emerges is handled deftly by Eastwood while the sentiment – such as the sunny Speilbergisms that sadly have defined the modern era war-film is kept in check. It may be too much to watch both FLAGS and LETTERS in one sitting or some double feature setting but both even with their glorified old-school faults (most likely from the screenplay written by CRASH * director Paul Hack-ish, oh – I mean Haggis) should not be missed.

* Incidentely my least favorite Best Picture Academy Award winning film ever!

49 UP (Dir. Michael Apted, 2005) The 7th in the excellent documentary series that began in 1964 with the bold statement – “Give me a child until he is seven and I will give you the man” and followed 14 British children catching up with them every (yep) 7 years. Since most people I know haven’t seen any of these movies I’d highly recommend the Up Series box-set which has the previous 6 films but honestly that’s not absolutely necessary to enjoy this movie. Plenty of clips from all the films inform and enhance the new material and don’t come off as redundant for those who have kept up. It would be too much for me to recount all the names, stories, and economic backgrounds so check out this Wikipedia entry if you are curious. Seeing this group of real people at the various stages of their lives through turmoil and peace makes for extremely satisfying viewing. Bring on 56 UP!

ROCKY BALBOA
(Dir. Sylvester Stallone, 2006)

It’s hard for me to believe this is making my recommendations list. I mean as a kid I hated the ROCKY movies, ridiculed them with other snotty pimpled faced friends, and grew up to believe them to be populist Narcissistic America at its most lame brained epic-wannabes. At some point when I got older I caught the original Best Picture winning ROCKY and found myself liking it. It came from my favorite era of cinema (the 70’s dummy!) and it was grittily touching in its portrayal of the boxing underdog making a name for himself. Then sequel-itis set in and the character became a machine who could never lose in glitzy gimmicky match-ups with Mr. T (III) and that evil Russian powerhouse played by Dolph Lundgren (IV) – yes that’s right – Rocky was going to win the Cold War! I never even saw ROCKY V (1990) – so why do I like and recommend ROCKY BALBOA? Because we have Stallone at his most likable – an aging humble simpleton running a restaurant named after his deceased wife Adrian (Talia Shire – who is not deceased; she just didn’t return to the series), telling the same fight stories, and brushing off daily indignities. It seems oddly necessary for Stallone to return to his Rocky roots – this is his best and most definable character and even with the contrived ‘inspired by a video game simulation Rocky gets an exhibition match with the current troubled champ Mason ‘The Line Dixon’ (Antonio Tarver)’ scenario, I hate to admit it but it works. Bring on JOHN RAMBO! Okay, no wait – that’s a bit much.

And now :

New Release DVD Disses :

BOBBY (Dir. Emilio Estevez, 2006) I had heard the news upon its theatrical release that this was a NASHVILLE remake – relocated to the Ambassador Hotel in Los Angeles with the RFK assassination the backdrop to a convoluted mishmash of over 20 cliched ’60s stereotypes. I held out ’til it came in that red Netflix envelope because of my love for political period pieces but damn was that description right on the money! The Altman derived framework doesn’t disguise the awful screenplay with ham-fisted base dialogue like Nick Cannon playing an insufferably idealistic Kennedy staffer emoting “now that Dr. King is gone – no one left but Bobby. No one.” Cannon joins an ace cast including Anthony Hopkins, Lawrence Fishborne, William H. Macy, Harry Belfonte, Christian Slater (one of the few non-idealist characters – he plays a base racist), and Estevez’s Daddy Martin Sheen. Not so ace actors here include Elijah Wood, Lindsay Lohan, Demi Moore and Estevez himself. The cringe inducing cliches pile up – Ashton Kutcher does his worst acting ever (can’t believe that was possible) as a hippy that would look phony on Dragnet 1967– during a horrifyingly stupid acid trip sequence actually sits staring at an orange in his hand saying “no, you shut up!”, every TV set has a perfect quality picture of carefully chosen clips of RFK speeches and there’s even a MAGNOLIA-esque montage going from strained close-up shots actor to actor. Can’t deny the heart that went into this movie but all we have here is an A-list cast, B-list production values, C-list cliches, D-list overused soundtrack standards, and an F-list script. Somebody revoke Estevez’s cinematic license! He should be exiled to the TV movie circuit after this film felony.

SMOKIN’ ACES (Dir. Joe Carnahan, 2007) Another better than average cast slumming it through derivative drivel. Flashy Vegas gangster caper in which every one in the cast is after sleazy magician soon to be snitch Buddy Aces (Jeremy Piven – pictured on the left). Some are trying to protect him – (lawyer Curtis Armstrong, FBI agents Ryan Reynolds and Ray Liotta under the supervision of chief Andy Garcia) but everybody else is trying to kill him including Alicia Keys, Ben Affleck, Jason Bateman, and rapper Common – okay yeah so it’s not A-list but most of them are still better than the material in this worn entry into the PULP FICTION–GET SHORTY–LOCK STOCK–GO sweepstakes that expired over a decade ago. Kind of like Shane Black’s also post-dated glib witless KISS KISS BANG BANG (2005) SMOKIN’ ACES is a lesson in how quick cutting and hip-hopisms don’t ensure a clever crafty meta-movie. Just say Tarenti-NO to this piece of pop-nonsense.

This post (especially the disses) is dedicated to Good Morning America critic Joel Siegel (1943-2007). He became a film babble hero when he walked out of a screening of CLERKS II last summer. Knowing his days were numbered he figured he didn’t want to waste his last hours on that crap. The fact that it pissed off Kevin Smith was the icing on the cake! Check out Roger Ebert’s heartfelt tribute.

More later…

20 Great Modern Movie Cameos

Soldier (Fred Smith) : “Well, what did you think of the play?”
Boris (Woody Allen) : “Oh, it was weak. I was never interested. Although the part of the doctor was played with gusto and verve and the girl had a delightful cameo role.”
– LOVE AND DEATH (1975)

A cameo is defined as a “brief appearance of a known person in a work of the performing arts. Such a role needs not be filled by an actor: short appearances by film directors, politicians, athletes, and other celebrities are common.” (Wikipedia, of course)

As we all know sometimes one of the only good things in a particular film is a juicy unexpected cameo – not that all these were all unexpected, a number were highly publicised or widely rumoured way in advance. So many movies have cameos that it was very hard to pare down the best from all the multiple Ben Stiller, Austin Powers, and Zucker Bros. genre (AIRPLANE!) but I settled for a nice smattering that doesn’t deny those films their cameo cred but includes some overlooked surprise walk-on gems as well. I decided to not include the many Hitchcock cameos or any other directors who often appear in their own films but made an exception (#18) when a director appeared in someone else’s film. So don’t go to the bathroom or blink ’cause you may miss them here goes the cameo countdown :

1. David Letterman – CABIN BOY (1994) Adam Resnick and former Letterman regular Chris Elliot’s spotty yet not un-likable silly high seas saga featured the veteran late night host in his one movie role not playing himself as a stuffed- monkey peddler. As “Old Salt in Fishing Village” and credited as Earl Hofert, Letterman seemed to be enjoying himself as he badgered Elliot’s fancy lad character – “Boy you’re cute – what a sweet little outfit. Is that your little spring outfit? (laughs) you couldn’t be cuter!”

2. Orson Welles – THE MUPPET MOVIE (Dir. James Frawley, 1979) THE MUPPET MOVIE and all subsequent Muppet movies have been crammed with cameos (Steve Martin, Richard Pryor, Mel Brooks, John Cleese, Elliot Gould, Cloris Leachman, etc.) but Welles’s appearance is a stone cold classic. Why? Because it introduced generation after generation to a true cinematic genius, at a low point in his career it briefly restored a sense of dignified power by casting him as studio head Lew Lord (based on mogul Lew Grade), and because nobody but nobody could give such an elegant reading to the line “prepare the standard ‘Rich and Famous’ contract for Kermit the Frog and Company.” That’s why.

3. David Bowie – ZOOLANDER (Dir. Ben Stiller, 2001) All of Ben Stiller’s movies have A-list cameos but Bowie is the only one who gets his own freeze frame flashy credit and a snippet of his hit “Let’s Dance” to frame his intro when he steps out of the crowd to volunteer his services as judge for the crucial walk-off between Zoolander (Stiller) and his rival Hansel (Owen Wilson). With very little effort Bowie shows everyone in the room and in the audience what real screen presence is all about.

4. The Three Stooges – IT’S A MAD MAD MAD MAD WORLD (Dir. Stanley Kramer, 1963)
Talk about very little effort! The famous slapstick trio only appear for 5 seconds as firemen at an airport. In a movie that may as way be called Cameo City they just stand there in the middle of the choas saying and doing nothing and are funnier and all the more memorable for it. IT’S A MAD MAD… practically invented the modern celebrity cameo – hence it making this so-called modern movies list.

5. Keith Richards – PIRATES OF THE CARRIBEAN : AT WORLD’S END (Dir. Gore Verbinski, 2007) Definitely not a surprise cameo – Richards was supposed to be in PIRATES 2 but had Stones concert commitments so the word was out was beforehand. The joke of course is that because Johnny Depp modeled his Jack Sparrow character on the behavorial nuances of Richards it’s apt to have the craggy decadent guitarist show up as Sparrow’s father. It’s predictable but pleasing how it goes down even if it is the cinematic equivalent of those Saturday Night Live sketches like “Janet Reno Dance Party” or “The Joe Pesci Show” where the real person walks on to stare down their imitator.

6. Martin Sheen – HOT SHOTS! PART DEUX (Dir. Jim Abrahams, 1992) In what may be the funniest cameo on this list Charlie Sheen takes a break from the Rambo-styled action to write his tortured memoirs complete with intense voice-over to parody his role in PLATOON. Suddenly another intense voice-over overlaps and we see his father Martin Sheen in army duds obviously parodying his role in APOCALYPSE NOW. As their riverboats pass they point at each other and say in unison – “I loved you in WALL STREET!”

7. Roger Moore – CURSE OF THE PINK PANTHER (Dir. Blake Edwards, 1983) Now this may be the most ridiculous cameo here. Get this – Roger Moore (sorry, Sir Roger Moore) plays Inspector Clouseau after plastic surgery at the end of the second Panther movie made after Peter Sellers death. It doesn’t matter that it doesn’t fit at all into the continuity of the series – even at its best there have been character and narrative inconsistencies throughout – it’s still a highlight. Moore does a passable Sellers impression and appears to be having a ball. For the first time in the almost 2 hours of this tedious unneccessary sequel we are too.

8. Shirley MacLaine – DEFENDING YOUR LIFE (Dir. Albert Brooks, 1991) When recently deceased yuppie Brooks has to go on trial for his existence it’s only fitting that Shirley MacLaine would show up to spoof her reincarnation-obsessed image, isn’t it? She nails it as the tour guide at the Afterlife Pavilion that Brooks and his date Meryl Streep attend.

9. Ethel Merman – AIRPLANE! (Dirs. Jim Abrahams, David Zucker, 1980) When seeing this movie as a kid and naturally thinking every single thing in it was a joke it was even funnier when a friend pointed out “that really was Ethel Merman”. In a wartime hospital room flashback Ted Striker (Robert Hays) comments about one of his fellow wounded – “Lieutenant Hurwitz – severe shell-shock. Thinks he’s Ethel Merman.” Cut to : Merman bursting out of bed singing – “You’ll be swell, you’ll be great. Gonna have the whole world on a plate. Startin’ here, startin’ now. Honey, everything’s comin’ up roses…” As she (he?) is sedated by staff Striker remarks “war is Hell.”

10. Rodney Dangerfield – NATURAL BORN KILLERS (Dir. Oliver Stone, 1994) Presented as a flashback the surreal sitcom satire “I Love Mallory” serves as a commentary on the murderer’s memories being corrupted by too much TV but it’s really a showcase for the most savage acting Dangerfield has ever done. As Mallory’s (Juliette Lewis) abusive incestuous and just plain gruesome father Dangerfield steals the movie while repulsing us and there’s an innocuous laugh track punctuating every line. The most perfectly unpleasant cameo here for sure.

11. Bruce Springsteen – HIGH FIDELITY (Dir. Stephen Frears, 2000) Like Keith Richards, Springsteen had never acted in a movie so it’s pretty cool that the Boss would appear in a day dream of protagonist Rob Gordon (John Cusack). Plucking some notes on the gee-tar he inspires Rob to hunt down his ex-girlfriends. “Give that big final good luck and goodbye to your all time top-five and just move on down the road” Springsteen advises. Sigh – just like one of his songs.

12. Elvis Costello – SPICE WORLD (Dir. Bob Spiers, 1997) As a bartender and credited as ‘Himself’ Costello plays a nice tongue-in-cheek note as the Girls talk about their possible flash-in-the-pan prospects. It should also be mentioned that Costello also made cool cameo appearances in AMERICATHON, STRAIGHT TO HELL, 200 CIGARETTES, TALLADEGA NIGHTS, and AUSTIN POWERS : THE SPY WHO SHAGGED ME.

13. Gene Hackman – YOUNG FRANKENSTEIN (Dir. Mel Brooks, 1974) Great uncredited cameo in which Hackman plays a bearded blind man named Harold who gets a prayed for visit by Frankenstein’s monster (Peter Boyle). Harold serves the monster soup, wine, and cigars but fails to teach him that “fire is good” prompting a sudden exit. Harold exclaims – “Wait! Where are you going….I was gonna make espresso!”

14. Marshall McLuhan – ANNIE HALL (Dir. Woody Allen, 1977) The best example of one upmanship in a cameo that I can think of. At a theater in Manhattan (where else?) Alvy Singer (Woody Allen) is annoyed by the loud mouth pretensious rantings of the pseudo intellectual (Russell Horton) behind him and Annie Hall (Diane Keaton) in line. Alvy argues with the guy – “…and the funny thing is – Marshall McLuhan, you don’t know anything about Marshall McLuhan.” The guy responds “really? I happen to teach a class at Columbia called ‘TV, media and culture’ so I think my insights into Mr. McLuhan have a great deal of validity.” Alvy then says “I happen to have Mr. McLuhan right here” and presents him from offscreen. McLuhan eyes the guy and says “I’ve heard what you were saying. You know nothing of my work…” Alvy looks at the camera and says “boy, if life were only like this!”

15. Kurt Vonnegut – BACK TO SCHOOL (Dir. Alan Metter, 1986) Overage college student Rodney Dangerfield enlists Kurt Vonnegut to write his term paper on – yep, Kurt Vonnegut. Vonnegut shows up at Dangerfield’s door and has only one line which is just introducing himself but for our purposes that’s all he has to do. When Dangerfield’s paper gets an F (teacher Sally Kellerman : “whoever did write it doesn’t know the first thing about Kurt Vonnegut”) he curses the famous author over the phone and adds “next time I’ll call Robert Ludlum!”

16. Jim Garrison – JFK
(Dir. Oliver Stone, 1991) The definition of an ironic cameo. New Orleans District Attorney and controversial conspiracy theorist Garrison (who is portrayed by Kevin Costner in the film) does his only acting ever * as his chief rival Chief Justice Earl Warren. As the entire movie is an elaborate rebutal to the Warren Report’s conclusions on the assassination and largely based on Garrison’s book (On The Trail Of The Assassins) this is pretty juicy indeed.

* wait! I’m wrong – he did a cameo in THE BIG EASY (1987). My bad.

17. Stan Lee – MALLRATS (Dir. Kevin Smith, 1996) The Spiderman creator and Marvel Comics main-man has done cameos in many comics adapted or related movies (SPIDERMAN, THE HULK, X-MEN, FANTASTIC FOUR, etc.) but this one set the standard for the Stan Lee cameo. He plays himself so he’s treated as a God by comic book collector geek Brodie (Jason Lee) and as such he rises above the base level humour even when saying lines like “he seems to be really hung up on super heroes’ sex organs.”

18. Martin Scorsese – THE MUSE (Dir. Albert Brooks, 1999)
In a movie in which TITANIC director James Cameron also cameos and a number of Hollywood folk play themselves Marty sure has a nice bit – blabbing to struggling screenwriter Brooks – “I want to do a remake of RAGING BULL with a really thin guy. Not just thin, but REALLY thin. Thin and angry, thin and angry, thin and angry. Can you see it?”

19. Spike Milligan – MONTY PYTHON’S LIFE OF BRIAN (Dir. Terry Jones, 1979) Like the 3 Stooges this is a blink and you miss it cameo. While filming in Tunisia the Pythons found Milligan vacationing and got him to do a scene. For those of you readers who don’t know Milligan – he was a huge influence on Python as a member of the Goon Show (which also featured Peter Sellers) and various other radio and TV programs. When the crowd following the reluctant Messiah Brian (Graham Chapman) flocks off into the hills, Milligan’s character, named Spike in the credits, walks off shot not following them. He never was one to follow the latest trends.

20. Frank Sinatra – CANNONBALL RUN II (Dir. Hal Needham, 1984) Without a doubt the worst movie on the list but one that made it because it’s the Chairman of the Board we’re talking about here! I’m highly amused at this cameo ’cause it’s so cheap and cheesy how it’s done.

Roger Ebert described it best in his original ’84 review :

“There isn’t a single shot showing Sinatra and Reynolds at the same time. Also, there’s something funny about Sinatra’s voice: He doesn’t seem to be quite matching the tone of the things said to him. That’s the final tip-off: Sinatra did his entire scene by sitting down at a desk and reading his lines into the camera, and then, on another day, Reynolds and the others looked into the camera and pretended to be looking at him. The over-the-shoulder shots are of a double. This is the movie equivalent to phoning it in.”

– Roger Ebert (Chicago Sun Times Jan. 1, 1984)

You nailed it Roger! Only Frank could get away with that action! At least they got him to pose for the publicity still above.

Have a favorite cameo you thought should have made the list? Bob Saget in HALF BAKED? Howard Cosell in BANANAS? Alice Cooper in WAYNE’S WORLD? Tom Cruise, Gwenyth Paltrow, or Danny Devito in AUSIIN POWERS IN GOLDMEMBER? Bruce Willis, Julia Roberts, or Burt Reynolds in THE PLAYER * ? Tom Petty in THE POSTMAN?

* THE PLAYER was left off the list despite (or maybe because) it being almost completely constructed around cameos by countless celebrities but for the record my favorite cameo in it is Buck Henry as himself pitching “THE GRADUATE PART II” to Tim Robbin’s slimy studio exec character.

Send your cameo ommisions to :

boopbloop7@gmail.com

More later…

A Couple Of Comedies For The Summer Home Stretch

“When will this rotten summer end? In a film, it’d already be over. Fade-out, cut to storm. Wouldn’t that be great?” – Salvatore (Marco Leonard) CINEMA PARADISO 1989

Dog days indeed. Lame ass movie season to cover – I mean I saw PIRATES OF THE CARRIBEAN : DEAD MAN’S CHEST weeks ago and had no inclination to write about it. I mean I would just be repeating what so many others have said – its too long, a series of action pieces in search of a story, just a set-up for a third movie, etc. Damn I went and repeated that crap anyway. Sigh. Anyway – what else have I seen? Hmmm…

CLERKS 2 (Dir. Kevin Smith) Things start off promising – a great Talking Heads song (“Nothing But Flowers”) accompanies Dante (Brian O’Halloran) on his drive to his new place of employment after the infamous Quick Stop burns down. Once we settle with him and obnoxious side-kick Randal (Jeff Anderson) into Mooby’s, a bad parody of a McDonalds-style fast food joint, we get stale dialogue and half assed acting with no semblance of artistic justification. Smith fans will think I’m being a prude but I was seriously bored by this material. In particular the Jay and Silent Bob (Jason Mewes and Kevin Smith respectively) characters have been done to death – they were fine as first time out creations by a talented novice filmmaker but after 6 movies, a series of comic books, and a cartoon show for Christ sakes they have long ago jumped the shark *. This time however Kevin Smith doesn’t just jump the shark – he fucks the shark and gives it ass to mouth. A new addition to the worse sequels of all time for sure.

* For those who don’t understand the “jumping the shark” reference please consult this amusing Wikipedia entry.

SCOOP (Dir. Woody Allen) Much more enjoyable than MATCH POINT and definitely funnier than his last few flicks – too bad that’s not saying much. Continuing his supposed simultaneous cinematic love affair with both Scarlet Johansen and London we’re in fluffy territory here – think MANHATTAN MURDER MYSTERY crossed with the jokey supernatural ALICE and the supremely underrated NEW YORK STORIES segment and you’ve got SCOOP. Hugh Jackman plays the would be murderer while Ian McShane guides the action from beyond the grave – from a boat captained by the grim reaper – yeah that bit doesn’t really work but it doesn’t get in the way of this fairly decent, fairly funny, just plain fair Woody Allen film.

More later…