It’s not surprising that a biopic about National Lampoon founder Doug Kenney (played by Will Forte) would come out right now. With Netflix’s dedication to weekly comedy specials, the importance of SNL, and the evolution of social-media to share comedy, of course, it’s timely to release a movie about one of the most influential forces in comedy. A Futile and Stupid Gesture is both hilarious and dramatic, bringing to life both the excitement and burden of living in the comedy world. While easily watchable and very entertaining, there are certain aspects that leave the audience a little confused and unsure of how they’re supposed to feel.
Welcome to the inaugural Burger-A-Day podcast. On it BurgerADay.com contributors James Crowley and Marisa Winckowski discuss music, movies, and pop culture. On this debut episode, they discuss Richard Linklater’s 2003 musical comedy School Of Rock-its lasting impact, mass appeal, later adaptations, and how the view towards it changes with age.
mother! and It are in a battle for the top prize of “most talked about horror film with a one word title to come out in the past few weeks” – and while both have their merits and are well-deserved trending topics, the fear of a shape-shifting killer clown does not hold a candle to being forced to host a party for hundreds of strangers who won’t leave. Continue reading
A loose parody of 14th century novel The Decameron, The Little Hours (dir. Jeff
Baena) features Dave Franco as a runaway who, pretending to be a deaf-mute, starts
hooking up with nuns at a convent. The entire cast is a comedy powerhouse- Nick Offerman, Molly Shannon, Alison Brie, Aubrey Plaza, Fred
Armisen, and John C. Reilly. Clearly, some effort was made to cast people with excellent
comic timing. Continue reading
Jordan Peele’s Get Out would not have been green-lit in any year but this one. Had someone described the premise of this film to me a few years ago, I would not have believed them- that not only does this film exist, but that it is a tremendous hit both critically and commercially. And it’s a blessing, really, because if Get Out had been released two years ago it might have been more polarizing if it had even been released at all. The fact that a film with such a supposedly controversial premise has done so well is a testament both to how good this movie is and, very likely, due to the current political climate. It’s a daunting task to create a thought-provoking and genuinely scary film that can include humor sparingly and with purpose, but Jordan Peele has pulled it off.
Get Out is not a “horror comedy”. It is a horror film with moments of comic relief to keep the audience grounded. The humor in this film will come from one of two sources: the uncomfortable familiarity of upper middle class white culture, or Lil Rel Howery as audience surrogate Rod Williams. Rod’s job is to act as the voice of reason most horror movies are missing. See this movie in theatres while you can, because part of the experience is developing this camaraderie with the other viewers through Rod. It’s been a long time since I’ve seen a movie that warranted applause at three separate scenes.
I hate the Oscars; I know that they are entirely meaningless and serve little purpose other than to reward those who gave the most money to the Academy. I know that the same types of films are nominated every year, as they follow the same focus group-tested algorithm and were factory-built for award season. And I know that it is a tacky ceremony that spends most of its time congratulating itself and the many white people who didn’t do much to deserve it. But I watch it every year. I love complaining to no one when my favorites don’t win, I love the ridiculous over-polished musical performances and I love placing my bets. So here they are.