list http://www.spout.com/ Recent community activity around The 40-Year-Old Virgin on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_40_Year_Old_Virgin/256210/default.aspx Title: The 40-Year-Old Virgin
Year: 2005
Director: Judd Apatow
Plot: One man nervously ventures forth into the final frontier in this comedy starring comic actor Steve Carell. Andy Stitzer (Carell) is a cheerfully geeky guy who is settling into middle age with his large collection of comic books, action figures, and collectable models. Andy works in an electronics store, and seems reasonably happy with his life. However, one day his friends and co-workers David (Paul Rudd), Jay (Romany Malco), and Cal (Seth Rogen) discover that Andy has a secret -- due to his rather severe jitters around women, Andy is still a virgin. Andy's pals are appalled at this state of affairs, and set out to find a woman who'd be willing to get horizontal with him. After a number of disastrous dates, everyone thinks Andy has finally struck gold when he meets Trish (Catherine Keener), an attractive single mother who takes an immediate liking to him. What the other guys don't know is that Trish has just gotten out of a bad relationship, and has informed Andy she isn't ready to be intimate with him just yet. The 40-Year-Old Virgin was the first feature film directed by Judd Apatow, who previously served as a writer and producer for the well-regarded television shows Freaks and Geeks, Undeclared, and The Larry Sanders Show. ~ Mark Deming, All Movie Guide
Times Tagged: 83
Number of Lists: 108
Number of blog posts: 18
Number of discussion threads: 3
SpoutRating: 3
]]>Sat, 15 Aug 2009 14:15:34 GMTThe 40-Year-Old Virgin2005Judd ApatowOne man nervously ventures forth into the final frontier in this comedy starring comic actor <a href="/players/P____10850/default.aspx" style='text-decoration:underline'>Steve Carell</a>. Andy Stitzer (Carell) is a cheerfully geeky guy who is settling into middle age with his large collection of comic books, action figures, and collectable models. Andy works in an electronics store, and seems reasonably happy with his life. However, one day his friends and co-workers David (Paul Rudd), Jay (<a href="/players/P___341518/default.aspx" style='text-decoration:underline'>Romany Malco</a>), and Cal (<a href="/players/P___297862/default.aspx" style='text-decoration:underline'>Seth Rogen</a>) discover that Andy has a secret -- due to his rather severe jitters around women, Andy is still a virgin. Andy's pals are appalled at this state of affairs, and set out to find a woman who'd be willing to get horizontal with him. After a number of disastrous dates, everyone thinks Andy has finally struck gold when he meets Trish (<a href="/players/P____37341/default.aspx" style='text-decoration:underline'>Catherine Keener</a>), an attractive single mother who takes an immediate liking to him. What the other guys don't know is that Trish has just gotten out of a bad relationship, and has informed Andy she isn't ready to be intimate with him just yet. The 40-Year-Old Virgin was the first feature film directed by <a href="/players/P___188203/default.aspx" style='text-decoration:underline'>Judd Apatow</a>, who previously served as a writer and producer for the well-regarded television shows <a href=/films/240558/default.aspx style='text-decoration:underline'>Freaks and Geeks</a>, <a href=/films/36418/default.aspx style='text-decoration:underline'>Undeclared</a>, and <a href=/films/222766/default.aspx style='text-decoration:underline'>The Larry Sanders Show</a>. ~ Mark Deming, All Movie Guide83Tag Target (>10)1081833http://www.spout.com/ProductImages/u34961e9yd5.jpghttp://www.spout.com/films/The_40_Year_Old_Virgin/256210/default.aspxFilm http://www.spout.com/blogs/goughdrop/archive/2009/8/15/43535.aspx Post By: GoughDrop
Post To: GoughDrop Blog
Post Date: 8/15/2009 10:15:34 AM
Body: Piven finally finds a vehicle where he can play to his strengths. After the problems with Smoking Aces and his other recent feature attempts, Jeremy Piven wisely chose a role that audiences can accept him in. The Ari Gold typecasting works in Piven's favor with The Goods. The script is full of hystercal gags and funny jokes. There are plenty of lame stabs in the comedic dark, but when every scene has a funny moment, you can't help but walk away with a satisfied smile. I don't believe that I've ever seen a film with the sheer number of jokes and gags that The Goods offers. Piven is perfectly cast as the maestro of car salesmen. Will Ferrell makes another gut-busting cameo as his dead best friend. James Brolin and David Koechner have a hysterical storyline of unrequited bi-curious love. But the scene stealer of this romp is Kathryn Hahn in a portrayal of a sex-starved sales seductress. It's not Wedding Crashers, 40-year Old Virgin, or Old School, but it's definitely in the strong second tier of modern comedies. The Goods: The Don Ready Story(2009)The 40-Year-Old Virgin(2005)Wedding Crashers(2005)Old School(2003)
]]>Sat, 15 Aug 2009 14:15:34 GMTGoughDropGoughDrop Blog8/15/2009 10:15:34 AMPiven finally finds a vehicle where he can play to his strengths. After the problems with Smoking Aces and his other recent feature attempts, Jeremy Piven wisely chose a role that audiences can accept him in. The Ari Gold typecasting works in Piven's favor with The Goods. The script is full of hystercal gags and funny jokes. There are plenty of lame stabs in the comedic dark, but when every scene has a funny moment, you can't help but walk away with a satisfied smile. I don't believe that I've ever seen a film with the sheer number of jokes and gags that The Goods offers. Piven is perfectly cast as the maestro of car salesmen. Will Ferrell makes another gut-busting cameo as his dead best friend. James Brolin and David Koechner have a hysterical storyline of unrequited bi-curious love. But the scene stealer of this romp is Kathryn Hahn in a portrayal of a sex-starved sales seductress. It's not Wedding Crashers, 40-year Old Virgin, or Old School, but it's definitely in the strong second tier of modern comedies. The Goods: The Don Ready Story(2009)The 40-Year-Old Virgin(2005)Wedding Crashers(2005)Old School(2003) http://www.spout.com/blogs/the_mow/archive/2009/5/7/42177.aspx Post By: The_MOW
Post To: The_MOW Blog
Post Date: 5/7/2009 11:06:19 PM
Body: "Andy" (Steve Carell) is pretty nerdy. He drives a bicycle to work every day, he watches "Survivor" with his neighbors every week and has a very impressive classic toy collection that fills every room of his apartment. While at an after-work poker game, his co-workers/friends figure out that he's a virgin -- a 40-year old virgin. His friends then put themselves on a mission to get him some. He then meets a wonderful woman, who he becomes strongly attracted to, but is afraid of taking it all the way with her. There is absolutely very little to like about this film. Most of the jokes are just too over-the-top to be funny, while others produce a chuckle. Others are set up so you see the punchline coming from a mile away. The plot is too predictable. You just knew that "Andy" was going to lose his virginity before the closing credit rolled. You also just knew how the supporting cast was going to be when they learned "Andy's" little secret. The performances from the entire cast are pretty good. Carell probably has the best performance in the entire cast. While the supporting cast does some good jobs, they have to work with one-dimensional characters who have very little development. One thing I liked was the soundtrack. Some of the music is placed to enhance the joke, while others help set the mood of the scene. I don't recall any songs made for the movie, but there are some great classic songs throughout the entire movie. Somebody behind the camera must like the 1980's music. Another thing I didn't like was that this film was obviously for a certain audience -- of which I am obviously not a part of. If you don't like raunchy humor, this movie is one to avoid. Another thing that was good was the pacing of the movie. The jokes were spread out pretty well throughout the movie, and the story flowed pretty well. Netflix users -- if you really want to see this film, I really suggest you drive to your local video rental place. I just can not picture anybody who would wait to see this movie.
]]>Fri, 08 May 2009 03:06:19 GMTThe_MOWThe_MOW Blog5/7/2009 11:06:19 PM"Andy" (Steve Carell) is pretty nerdy. He drives a bicycle to work every day, he watches "Survivor" with his neighbors every week and has a very impressive classic toy collection that fills every room of his apartment. While at an after-work poker game, his co-workers/friends figure out that he's a virgin -- a 40-year old virgin. His friends then put themselves on a mission to get him some. He then meets a wonderful woman, who he becomes strongly attracted to, but is afraid of taking it all the way with her. There is absolutely very little to like about this film. Most of the jokes are just too over-the-top to be funny, while others produce a chuckle. Others are set up so you see the punchline coming from a mile away. The plot is too predictable. You just knew that "Andy" was going to lose his virginity before the closing credit rolled. You also just knew how the supporting cast was going to be when they learned "Andy's" little secret. The performances from the entire cast are pretty good. Carell probably has the best performance in the entire cast. While the supporting cast does some good jobs, they have to work with one-dimensional characters who have very little development. One thing I liked was the soundtrack. Some of the music is placed to enhance the joke, while others help set the mood of the scene. I don't recall any songs made for the movie, but there are some great classic songs throughout the entire movie. Somebody behind the camera must like the 1980's music. Another thing I didn't like was that this film was obviously for a certain audience -- of which I am obviously not a part of. If you don't like raunchy humor, this movie is one to avoid. Another thing that was good was the pacing of the movie. The jokes were spread out pretty well throughout the movie, and the story flowed pretty well. Netflix users -- if you really want to see this film, I really suggest you drive to your local video rental place. I just can not picture anybody who would wait to see this movie. http://www.spout.com/blogs/spoutblog/archive/2008/11/25/37651.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/25/2008 7:01:14 PM
Body: We can thank Christopher Guest for pulling her out of obscurity and casting her as a lesbian dog trainer in Best in Show. Or we can just thank her incredible talent for stealing scenes by way of riotous awkward comedy. Either way, this week we should remember to be thankful for Jane Lynch. You may have seen her recently in Role Models as the formerly coke-addicted founder of a mentoring organization. Or maybe you’ve seen her in The 40-Year-Old Virgin, Talladega Nights or Guest’s A Mighty Wind and For Your Consideration. In most of her roles, she plays opposite the best comedians in the business, yet she still supplies her films with some of their most memorable moments. I can’t wait to see how she does against Meryl Streep in next year’s Julie & Julia, when she plays the Oscar-winner’s sister. Lynch is hardly a celebrity, but she’s given the star treatment, jokingly, in the video below, the second episode of FunnyorDie.com’s “The Laurel and Meg Show.” And though the SNL-level internet talk show parody is not the funniest thing in the world, it is interesting to see Lynch kind of a victim of her own kind of schtick. For once, she’s not the most awkward character in the room. Although, she does create a nice deadpan awkward moment at the end. This Thanksgiving, many of us are likely to face a number of awkward situations courtesy of forced family bonding. If only we could have Jane Lynch by our sides to ease some of that tension, even if by being more inappropriate than your relatives ever could be. See more funny videos at Funny or Die Originally posted on:SpoutBlog
]]>Wed, 26 Nov 2008 00:01:14 GMTSpoutBlogSpoutBlog on spout.com11/25/2008 7:01:14 PMWe can thank Christopher Guest for pulling her out of obscurity and casting her as a lesbian dog trainer in Best in Show. Or we can just thank her incredible talent for stealing scenes by way of riotous awkward comedy. Either way, this week we should remember to be thankful for Jane Lynch. You may have seen her recently in Role Models as the formerly coke-addicted founder of a mentoring organization. Or maybe you’ve seen her in The 40-Year-Old Virgin, Talladega Nights or Guest’s A Mighty Wind and For Your Consideration. In most of her roles, she plays opposite the best comedians in the business, yet she still supplies her films with some of their most memorable moments. I can’t wait to see how she does against Meryl Streep in next year’s Julie & Julia, when she plays the Oscar-winner’s sister. Lynch is hardly a celebrity, but she’s given the star treatment, jokingly, in the video below, the second episode of FunnyorDie.com’s “The Laurel and Meg Show.” And though the SNL-level internet talk show parody is not the funniest thing in the world, it is interesting to see Lynch kind of a victim of her own kind of schtick. For once, she’s not the most awkward character in the room. Although, she does create a nice deadpan awkward moment at the end. This Thanksgiving, many of us are likely to face a number of awkward situations courtesy of forced family bonding. If only we could have Jane Lynch by our sides to ease some of that tension, even if by being more inappropriate than your relatives ever could be. See more funny videos at Funny or Die Originally posted on:SpoutBlog http://www.spout.com/blogs/usesoap/archive/2008/11/3/36920.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 11/3/2008 9:43:48 PM
Body: Kevin Smith has a right to be pretty bitter right now. For years, he's been blending raunch and romance with equal measure, to middling box office results. From his grungy little breakthrough, “Clerks,” in 1994, to the polished “Chasing Amy” to the not-as-bad-as-it's-rumored-to-be “Jersey Girl,” Smith has never shied from the messy sexual side of relationships in dialogue that some of the closest couples dare not discuss. Meanwhile, writer/director Judd Apatow snuck into the kingdom and stole the crown, basically covering the very same turf in films such as “The 40-Year-Old Virgin,” “Knocked Up” and “Forgetting Sarah Marshall.” Yet again, sex and sentimentality collide with generally hilarious, heartfelt results in his latest “Zack and Miri Make a Porno,” which takes the standard romantic comedy and tarts it up with g-strings, thigh highs and body glitter. Apatow mainstay Seth Rogan plays Zack and “W.'s” Elizabeth Banks is his platonic roommate Miri, two 20-something slackers who are reminded at their 10-year high school reunion just how little they have to offer the world a decade after their departure. And if the hysterical humiliations they suffer during the reunion don't drive the point home to them, then the return to their dingy Monroeville, Pennsylvania apartment – where the heat, electricity and water have just been shut off – should do the trick. In an act of desperation they embark on the eponymous mission (in a plot very similar to last year's Jeff Bridges film, “The Amateurs”) in order to cough up the cash needed to keep them off the streets. As typical of a Kevin Smith comedy, the film comes from a very personal place and it's not long before the smut is swept up in sentimentality. Just as “Jay and Silent Bob Strike Back” was really a travelogue of his brush with mainstream Hollywood, “Zack and Miri” (as it's been advertised for our prurient television audiences) is Smith's love letter to making movies. It just happens that the movies in this feature typically end with a money shot. But just as Smith assembled the cast of “Clerks” with his pals from his Jersey neighborhood, Zack and Miri enlist a number of participants from their inner circle to help bring their bump-and-grind opus to life. Included in the cast are Smith standbys Jason Mewes (who boldly pulls a full monty and who always brings the funny) and original “Clerk” Jeff Anderson. Smith also has the smarts to include scene-stealing “Office” mate Craig Robinson, rehabbed porn princess Traci Lords and Katie Morgan, who you may remember from such memorable turns in “Big Bottom Sadie,” “Whore of the Rings” and “Busty Beauties 20” (and about 200 other similarly titled films...if you care to “research” them). Smith also nabbed Justin Long, another go-to laugh-getter, whose cameo in the film will forever erase any annoying Mac ad image you may have of him. It will come as little surprise that our two leads become romantically involved when called upon to perform their climactic scene (meant in every sense of the word). And the final act of the film deals with the awkwardness that can follow that moment where friends decide to take their relationship one step further (normally, though, it's not done in front of a handful of onlookers and a rolling video camera... unless you're a Hilton). And this is where Smith – and Apatow, and John Hughes, for that matter – typically falter. For the male leads, there are plenty of bulls-eye masculine observations, while leaving the women with very little room to move outside their scripted confines. It's not that Banks does not try, she radiates much the same way Rosario Dawson did in “Clerks II.” But Smith's more comfortable giving his gals equally foul-mouthed dialogue that makes them “just one of the guys,” and then turning them into jealous emotional Jello when more complex matters arise. The entire plot itself is based nowhere close to reality, even given the current Warhol-intuited “15 minutes of fame” culture in which we live, and Miri just seems way too together to fall for such a slovenly mess such as Zack, much less agree to let herself be filmed having sex with him to be mass marketed. And honestly, with porn so easily accessible online, do they really think their little homegrown DVD is going to be their financial salvation? But those minor grievances aside, “Zack and Miri” has just enough cheer to overcome its more flaccid moments. And if he can enlist a female writer for his next feature that could solidify his lady characters of his next film, Smith may be able to not only satisfy his audience throughout, but also provide them with, appropriately, a happy ending.
]]>Tue, 04 Nov 2008 02:43:48 GMTusesoapusesoap Blog11/3/2008 9:43:48 PMKevin Smith has a right to be pretty bitter right now. For years, he's been blending raunch and romance with equal measure, to middling box office results. From his grungy little breakthrough, &ldquo;Clerks,&rdquo; in 1994, to the polished &ldquo;Chasing Amy&rdquo; to the not-as-bad-as-it's-rumored-to-be &ldquo;Jersey Girl,&rdquo; Smith has never shied from the messy sexual side of relationships in dialogue that some of the closest couples dare not discuss. Meanwhile, writer/director Judd Apatow snuck into the kingdom and stole the crown, basically covering the very same turf in films such as &ldquo;The 40-Year-Old Virgin,&rdquo; &ldquo;Knocked Up&rdquo; and &ldquo;Forgetting Sarah Marshall.&rdquo; Yet again, sex and sentimentality collide with generally hilarious, heartfelt results in his latest &ldquo;Zack and Miri Make a Porno,&rdquo; which takes the standard romantic comedy and tarts it up with g-strings, thigh highs and body glitter. Apatow mainstay Seth Rogan plays Zack and &ldquo;W.'s&rdquo; Elizabeth Banks is his platonic roommate Miri, two 20-something slackers who are reminded at their 10-year high school reunion just how little they have to offer the world a decade after their departure. And if the hysterical humiliations they suffer during the reunion don't drive the point home to them, then the return to their dingy Monroeville, Pennsylvania apartment &ndash; where the heat, electricity and water have just been shut off &ndash; should do the trick. In an act of desperation they embark on the eponymous mission (in a plot very similar to last year's Jeff Bridges film, &ldquo;The Amateurs&rdquo;) in order to cough up the cash needed to keep them off the streets. As typical of a Kevin Smith comedy, the film comes from a very personal place and it's not long before the smut is swept up in sentimentality. Just as &ldquo;Jay and Silent Bob Strike Back&rdquo; was really a travelogue of his brush with mainstream Hollywood, &ldquo;Zack and Miri&rdquo; (as it's been advertised for our prurient television audiences) is Smith's love letter to making movies. It just happens that the movies in this feature typically end with a money shot. But just as Smith assembled the cast of &ldquo;Clerks&rdquo; with his pals from his Jersey neighborhood, Zack and Miri enlist a number of participants from their inner circle to help bring their bump-and-grind opus to life. Included in the cast are Smith standbys Jason Mewes (who boldly pulls a full monty and who always brings the funny) and original &ldquo;Clerk&rdquo; Jeff Anderson. Smith also has the smarts to include scene-stealing &ldquo;Office&rdquo; mate Craig Robinson, rehabbed porn princess Traci Lords and Katie Morgan, who you may remember from such memorable turns in &ldquo;Big Bottom Sadie,&rdquo; &ldquo;Whore of the Rings&rdquo; and &ldquo;Busty Beauties 20&rdquo; (and about 200 other similarly titled films...if you care to &ldquo;research&rdquo; them). Smith also nabbed Justin Long, another go-to laugh-getter, whose cameo in the film will forever erase any annoying Mac ad image you may have of him. It will come as little surprise that our two leads become romantically involved when called upon to perform their climactic scene (meant in every sense of the word). And the final act of the film deals with the awkwardness that can follow that moment where friends decide to take their relationship one step further (normally, though, it's not done in front of a handful of onlookers and a rolling video camera... unless you're a Hilton). And this is where Smith &ndash; and Apatow, and John Hughes, for that matter &ndash; typically falter. For the male leads, there are plenty of bulls-eye masculine observations, while leaving the women with very little room to move outside their scripted confines. It's not that Banks does not try, she radiates much the same way Rosario Dawson did in &ldquo;Clerks II.&rdquo; But Smith's more comfortable giving his gals equally foul-mouthed dialogue that makes them &ldquo;just one of the guys,&rdquo; and then turning them into jealous emotional Jello when more complex matters arise. The entire plot itself is based nowhere close to reality, even given the current Warhol-intuited &ldquo;15 minutes of fame&rdquo; culture in which we live, and Miri just seems way too together to fall for such a slovenly mess such as Zack, much less agree to let herself be filmed having sex with him to be mass marketed. And honestly, with porn so easily accessible online, do they really think their little homegrown DVD is going to be their financial salvation? But those minor grievances aside, &ldquo;Zack and Miri&rdquo; has just enough cheer to overcome its more flaccid moments. And if he can enlist a female writer for his next feature that could solidify his lady characters of his next film, Smith may be able to not only satisfy his audience throughout, but also provide them with, appropriately, a happy ending. http://www.spout.com/blogs/smooth_j/archive/2008/10/5/35904.aspx Post By: Smooth_J
Post To: Smooth_J Blog
Post Date: 10/5/2008 3:23:34 PM
Body: This was a film I saw in theaters with absolutely no expectations. The previews, the poster, even the cast made it seem like an incredibly unoriginal studio vehicle. I refused to pay attention even to the most positive of reviews that the movie was getting--even my favorite critic's 3 1/2 star review of the film (88% on Metacritic). So, I walk into the theater with a few of my friends, hating myself for being a part of the crowd of half-drunk teenagers and their most recent of partners filing into the auditorium and talking very loudly about the stupidest things imaginable. My friends insisted that it was supposed to be "Funny as shit dude!" My pre-formed opinions were almost completely proven with a generic opening sequence that involved a happy Cake song, teeth brushing, and early morning cereal and television in pajamas. I was ready for nearly two hours of pompous bashing of the film with my friends. And then, Jason Segel's dick pops out. "Oh my goodness!" I thought. The rest of the theater clearly thought the same thing, with chorus' of "Ew!"s and "Gross!"s and "Eeek! A penis!"s. I thought this was pretty funny. Thus began my two hours of pleasantly surprised hysterical laughter. With my previously porta-potty bad expectations, I found the film to be very original for a textbook romantic comedy. I knew what was going to happen the entire film--but it was the actual journey that I found to be hysterical, and how the typical events played out differently. My friends seemed to be under the impression that it was better than Knocked Up or Superbad (because that's how they compare comedies nowadays I guess?), something that frustrated me beyond belief, since Sarah Marshall was basically riding the wave (Hawaii pun) that had been originated in those two films and 40 Year Old Virgin. "Just wait to you see it again!" everyone said when I would cynically disagree. So, I preordered it, got it a day before it was supposed to even be released, and watched it. For some reason, it failed to resonate as well a second time. The film is at its strongest during the first hour. The early sequence involving Segel's desperate attempts to get over Sarah Marshall in the form of repeated promiscuous encounters with an array of strange women is especially strong. The movie begins to run stale after the first hour, but still manages to be endearing, more "twanging the heart strings", so to speak. Don't get me wrong, it's a hilarious movie. It's also sensitive, maintaining a balance between commentary on post-breakup angst and (mostly) smart humor. The acting is surprisingly good, and all of the characters are very likeable, if slightly idealized. Jason Segel holds his own as a leading man, even if some his jokes run dry when they are clearly meant to be knockouts. Russel Brand is great even when his character is too over-the-top. And the leading ladies, Kristen Bell and Mila Kunis, not only complement the scenery but demonstrate genuine pathos, infusing their characters with something completely real in the romantic comedy world of caricatured characters and stories. And, might I mention, Mila Kunis has to be one of the cutest human beings on the planet. The supporting characters, such as Paul Rudd and Bill Hader, provide most of the film's hilarity. The comedy comes not only from the lead characters' emotional scars, but almost moreso from other peoples' attempts to make him forget them, or in Kunu's (Paul Rudd's) words, "Fuck the lemons and bail." The best moments are the ones where Segel's pain is forgotten, which usually only occur in the presence of the very gifted supporting cast. This very evident fact makes a viewer wish the he would just forget the blonde bitch already and get on Mila Kunis, because even the best cutesy romantic scenes come when she's on the screen, and the funniest parts in Hawaii come when she's the primary love interest. The film probably won't age as well as some of Judd Apatow and Co's other strong efforts, but I definitely would include this one in there. What was so great about Knocked Up and 40 YOV is that they managed to transcend the romantic comedy genre that they so easily fit into. They stand alone as a comedy, approaching the romantic plots from left-field with a tongue-in-cheek demeanor but also with a true sincerity. Forgetting Sarah Marshall seems to fit more into the mold of typical date movie fare, but still has a fresh, original methodology in its emotional themes (and also its raucous comedic sensibilities). It is actually a great movie. I love it, despite its obvious flaws and generic plot lines. I can't wait for Jason Segel to get another chance at writing, because I'm almost positive that he can only get better after such a solid debut. Maybe he'll try to push the mold even more, following Seth Rogen's creative role choices and endeavors. Or maybe he'll fade into obscurity...but the pig scene in Forgetting Sarah Marshall makes me hope he doesn't. Recommendations: 40 Year Old Virgin, Knocked Up, Superbad...and, for other romantic comedies with a character's name in the titles, let's not forget John Tucker Must Die! Christ, what a terrible movie.
]]>Sun, 05 Oct 2008 19:23:34 GMTSmooth_JSmooth_J Blog10/5/2008 3:23:34 PMThis was a film I saw in theaters with absolutely no expectations. The previews, the poster, even the cast made it seem like an incredibly unoriginal studio vehicle. I refused to pay attention even to the most positive of reviews that the movie was getting--even my favorite critic's 3 1/2 star review of the film (88% on Metacritic). So, I walk into the theater with a few of my friends, hating myself for being a part of the crowd of half-drunk teenagers and their most recent of partners filing into the auditorium and talking very loudly about the stupidest things imaginable. My friends insisted that it was supposed to be "Funny as shit dude!" My pre-formed opinions were almost completely proven with a generic opening sequence that involved a happy Cake song, teeth brushing, and early morning cereal and television in pajamas. I was ready for nearly two hours of pompous bashing of the film with my friends. And then, Jason Segel's dick pops out. "Oh my goodness!" I thought. The rest of the theater clearly thought the same thing, with chorus' of "Ew!"s and "Gross!"s and "Eeek! A penis!"s. I thought this was pretty funny. Thus began my two hours of pleasantly surprised hysterical laughter. With my previously porta-potty bad expectations, I found the film to be very original for a textbook romantic comedy. I knew what was going to happen the entire film--but it was the actual journey that I found to be hysterical, and how the typical events played out differently. My friends seemed to be under the impression that it was better than Knocked Up or Superbad (because that's how they compare comedies nowadays I guess?), something that frustrated me beyond belief, since Sarah Marshall was basically riding the wave (Hawaii pun) that had been originated in those two films and 40 Year Old Virgin. "Just wait to you see it again!" everyone said when I would cynically disagree. So, I preordered it, got it a day before it was supposed to even be released, and watched it. For some reason, it failed to resonate as well a second time. The film is at its strongest during the first hour. The early sequence involving Segel's desperate attempts to get over Sarah Marshall in the form of repeated promiscuous encounters with an array of strange women is especially strong. The movie begins to run stale after the first hour, but still manages to be endearing, more "twanging the heart strings", so to speak. Don't get me wrong, it's a hilarious movie. It's also sensitive, maintaining a balance between commentary on post-breakup angst and (mostly) smart humor. The acting is surprisingly good, and all of the characters are very likeable, if slightly idealized. Jason Segel holds his own as a leading man, even if some his jokes run dry when they are clearly meant to be knockouts. Russel Brand is great even when his character is too over-the-top. And the leading ladies, Kristen Bell and Mila Kunis, not only complement the scenery but demonstrate genuine pathos, infusing their characters with something completely real in the romantic comedy world of caricatured characters and stories. And, might I mention, Mila Kunis has to be one of the cutest human beings on the planet. The supporting characters, such as Paul Rudd and Bill Hader, provide most of the film's hilarity. The comedy comes not only from the lead characters' emotional scars, but almost moreso from other peoples' attempts to make him forget them, or in Kunu's (Paul Rudd's) words, "Fuck the lemons and bail." The best moments are the ones where Segel's pain is forgotten, which usually only occur in the presence of the very gifted supporting cast. This very evident fact makes a viewer wish the he would just forget the blonde bitch already and get on Mila Kunis, because even the best cutesy romantic scenes come when she's on the screen, and the funniest parts in Hawaii come when she's the primary love interest. The film probably won't age as well as some of Judd Apatow and Co's other strong efforts, but I definitely would include this one in there. What was so great about Knocked Up and 40 YOV is that they managed to transcend the romantic comedy genre that they so easily fit into. They stand alone as a comedy, approaching the romantic plots from left-field with a tongue-in-cheek demeanor but also with a true sincerity. Forgetting Sarah Marshall seems to fit more into the mold of typical date movie fare, but still has a fresh, original methodology in its emotional themes (and also its raucous comedic sensibilities). It is actually a great movie. I love it, despite its obvious flaws and generic plot lines. I can't wait for Jason Segel to get another chance at writing, because I'm almost positive that he can only get better after such a solid debut. Maybe he'll try to push the mold even more, following Seth Rogen's creative role choices and endeavors. Or maybe he'll fade into obscurity...but the pig scene in Forgetting Sarah Marshall makes me hope he doesn't. Recommendations: 40 Year Old Virgin, Knocked Up, Superbad...and, for other romantic comedies with a character's name in the titles, let's not forget John Tucker Must Die! Christ, what a terrible movie. http://www.spout.com/blogs/theworkingdead/archive/2008/8/18/34094.aspx Post By: TheWorkingDead
Post To: TheWorkingDead Blog
Post Date: 8/18/2008 3:34:11 AM
Body: I'm choosing to review Step Brothers not because I have anything incredibly insightful to say about it, or that the movie inspired an intense reaction, but because I've given this movie a 4 star rating on Spout and feel like I need to qualify that a little. For those reading this on my Working Dead Productions site, a rating of 4(out of 5) literally means 'I liked it.' And I did. Kinda.Oh sure, I got my two hours worth of laughs out of it, but in the end, I don't feel that there's really anything to recommend watching the full movie over the trailer. You get the joke in that short 2-3 minute montage of clips. The only joke. Will Ferrel and John C. Reilly are 40 year olds that aren't just man-children, but children whose bodies have become man-sized. There's some funny bits in between, some of it quite hilarious, and seeing Ferrel and Reilly dropping F-bombs at the top of their lungs never really loses it's comedic charm, but in the end, you see the trailer, you see the movie. I never really understood or agreed with critics who call a movie easily forgettable, but I will say that Step Brothers is just that. I'm sitting here trying to remember some of the one-liners from the movie, and I just can't do it. People will probably memorize and quote the movie, although probably not to the extent of Anchorman, but I won't be one of them.Critics lately have been complaining about Judd Apatow's theme of arrested adolescents finally having to grow up, but I have to admit i still find it enjoyable. Perhaps it's because I count myself as one of that tribe, with my house full of comic books, video games, action figures and movie/music posters. I occasionally feel like I should grow up and start to put this stuff behind me, but then I realize that's just crazy talk. That scene in the 40 Year Old Virgin where Steve Carrell starts packing up his toy collection, it saddens me every time. The scenes in Step Brothers where the two guys just spend their nights watching Steven Segal movies and eating cereal? I wish that was my life. And I know it isn't just me. Just about everyone I know from my generation is going through the same thing. Apatow has struck a nerve with his films, but this one suffers from his more direct input(he produced, but neither wrote nor directed).Step Brothers is stupid(purposefully so), silly, crass, and lazy. It's like an SNL skit, where it's a pretty funny idea, and then kinda settles and runs out of inertia as you realize you're going to have to wait for them to drag the gag out to movie length before they end it.
]]>Mon, 18 Aug 2008 07:34:11 GMTTheWorkingDeadTheWorkingDead Blog8/18/2008 3:34:11 AMI'm choosing to review Step Brothers not because I have anything incredibly insightful to say about it, or that the movie inspired an intense reaction, but because I've given this movie a 4 star rating on Spout and feel like I need to qualify that a little. For those reading this on my Working Dead Productions site, a rating of 4(out of 5) literally means 'I liked it.' And I did. Kinda.Oh sure, I got my two hours worth of laughs out of it, but in the end, I don't feel that there's really anything to recommend watching the full movie over the trailer. You get the joke in that short 2-3 minute montage of clips. The only joke. Will Ferrel and John C. Reilly are 40 year olds that aren't just man-children, but children whose bodies have become man-sized. There's some funny bits in between, some of it quite hilarious, and seeing Ferrel and Reilly dropping F-bombs at the top of their lungs never really loses it's comedic charm, but in the end, you see the trailer, you see the movie. I never really understood or agreed with critics who call a movie easily forgettable, but I will say that Step Brothers is just that. I'm sitting here trying to remember some of the one-liners from the movie, and I just can't do it. People will probably memorize and quote the movie, although probably not to the extent of Anchorman, but I won't be one of them.Critics lately have been complaining about Judd Apatow's theme of arrested adolescents finally having to grow up, but I have to admit i still find it enjoyable. Perhaps it's because I count myself as one of that tribe, with my house full of comic books, video games, action figures and movie/music posters. I occasionally feel like I should grow up and start to put this stuff behind me, but then I realize that's just crazy talk. That scene in the 40 Year Old Virgin where Steve Carrell starts packing up his toy collection, it saddens me every time. The scenes in Step Brothers where the two guys just spend their nights watching Steven Segal movies and eating cereal? I wish that was my life. And I know it isn't just me. Just about everyone I know from my generation is going through the same thing. Apatow has struck a nerve with his films, but this one suffers from his more direct input(he produced, but neither wrote nor directed).Step Brothers is stupid(purposefully so), silly, crass, and lazy. It's like an SNL skit, where it's a pretty funny idea, and then kinda settles and runs out of inertia as you realize you're going to have to wait for them to drag the gag out to movie length before they end it. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_August_4_Let_s_Talk_About_Sex/625/33947/1/ShowPost.aspx Post By: SkyPilot
Post To: Weekly Theme
Post Date: 8/13/2008 11:22:03 AM
Body: Any fans of The 40-Year Old Virgin here? I actually thought it was an interesting portrait of sex in contemporary American life. I appreciated this observation: options for sexual activity today are polygamy, serial polygamy*, and monogamy, but Steve Carell's friends didn't consider the third option a viable one. I also was wracking my brain for thinking of other movies that show a sexually monogamous relationship as a positive and viable option. magrebi mentioned Darby O'Gille and the Little People to me, which I haven't seen. Maybe there are crillions out there and I've just got a mental block. *By 'serial polygamy' I mean one sex partner at a time, amounting to multiple sex partners over one's life. Wikipedia refers to it as 'serial monogamy,' but to me that seems a little less accurate.
]]>Wed, 13 Aug 2008 15:22:03 GMTSkyPilotWeekly Theme8/13/2008 11:22:03 AMAny fans of The 40-Year Old Virgin here? I actually thought it was an interesting portrait of sex in contemporary American life. I appreciated this observation: options for sexual activity today are polygamy, serial polygamy*, and monogamy, but Steve Carell's friends didn't consider the third option a viable one. I also was wracking my brain for thinking of other movies that show a sexually monogamous relationship as a positive and viable option. magrebi mentioned Darby O'Gille and the Little People to me, which I haven't seen. Maybe there are crillions out there and I've just got a mental block. *By 'serial polygamy' I mean one sex partner at a time, amounting to multiple sex partners over one's life. Wikipedia refers to it as 'serial monogamy,' but to me that seems a little less accurate. http://www.spout.com/blogs/usesoap/archive/2008/8/11/33835.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 8/11/2008 8:16:46 AM
Body: A friend with weed is a friend indeed. That is the lesson to be extracted from the latest comedy off the Judd Apatow assembly line, “Pineapple Express.” While it may get anti-marijuana advocates abuzz with consternation, it's a sweet little trip until a dramatic shift to violence quite literally calls the cops to this feel-good party. “Express” is laced with guffaws and gunplay, and while not as startlingly schizophrenic as this summer's “Hancock,” it still feels as though its personalities are squished together in such a forced fashion, it threatens to disrupt the good vibes it garners through much of the film. And, like all of Apartow's blockbuster comedies before it (“Knocked Up,” Superbad,” “The 40-Year-Old Virgin”), it overstays its welcome by at least 30 minutes. Imagine, if you will, an entire film devoted to the ganja-clouded escapades of Brad Pitt's Floyd, the moviewestoner he portrayed in Tony Scott's “True Romance (one of Pitt's best, albeit brief, performances on screen). James Franco channels Floyd, but successfully layers him with empathy and a hint of sadness. Franco is perhaps best known as Peter Parker's frenemy in the “Spider-Man” trilogy, as well as generic junk like “Annapolis” and “Flyboys,” which focused more on his Abercrombe and Fitch good looks than his acting chops. In “Express” he hides his sculptured silhouette behind a mop of greasy hair and clothes even a college hamper would reject. As Saul, he's a well-connected dealer who, despite his numerous contacts, remains rather friendless, reduced to surface conversations with his quasi-anonymous clientèle whose illegal purchases makes them more than a tad jittery to hang out for deeper disucssions. When Dale (played by co-writer Seth Rogan) pops by for his weekly fix, Saul reaches out by not only introducing him to the headlining herb, but shares his beloved concoction, a triple-ended joint that apparently induces a supreme high. Dale, reluctant at first, humors Saul and doesn't pass up the chance for a token toke. A tiny connection is made before Dale darts off to his thankless gig as a process server that at least provides him the opportunity to blaze up between deliveries. During one seemingly routine stop, Dale witnesses a murder and, in his drug-clouded escape, manages to smash a couple cars and attract the attention of the killers (Gary Cole and Rosie Perez). When he seeks the aid of Saul in a panic, it sets off a series of successively darker detours into pot-fueled paranoia that, were it not for the comic chops of its supporting cast, would otherwise derail this ride. Rogan does his best Rogan, meaning he coasts along with his standard understated charm and his proclivity to cling to the bliss of adolescence. It's Franco who brings out the best of the film, operating under the haze of his trade and letting humanity bubble to the surface at all the right (high) times. But Franco alone could not buoy the picture as it slowly descends into its bloody conclusion. He's helped by the go-to guy for straight-faced snickers Danny McBride, as the link between Saul and the local drug kingpin, as well as Craig Robinson (from “The Office”) and Kevin Corrigan as two henchmen dispatched to extinguish the leads. Throughout there are throwaway bits that could have easily tightened the two-hour escapade, most notably the romance between Rogan's Dale and his high school girlfriend (yes, she is technically “of age,” but that makes it no less icky). We get that this guy's unable to motivate into adulthood, but the real relationship here is the one he strikes with Saul. Stylistically, the film breaks free from the relatively staid comedic efforts of recent past, credited to director David Gordon Green, an indie filmmaker whose known more for his dramatic muscle and given the film more flourish than it deserves. The stoner comedy is one that's typically made on a shoestring and relies heavily on its hazy humor than on plot or artistry (Cheech and Chong, Harold and Kumar, “Half Baked”), and occasionally it will be elevated into headier territory (“Dazed and Confused,” “The Big Lebowski,” “The Wonder Boys”). But this may be the first stoner action film ever made, perhaps because the two adjectives are so diametrically opposed. “Pineapple Express” would be much easier to inhale if the aftertaste was not so bitter.
]]>Mon, 11 Aug 2008 12:16:46 GMTusesoapusesoap Blog8/11/2008 8:16:46 AMA friend with weed is a friend indeed. That is the lesson to be extracted from the latest comedy off the Judd Apatow assembly line, &ldquo;Pineapple Express.&rdquo; While it may get anti-marijuana advocates abuzz with consternation, it's a sweet little trip until a dramatic shift to violence quite literally calls the cops to this feel-good party. &ldquo;Express&rdquo; is laced with guffaws and gunplay, and while not as startlingly schizophrenic as this summer's &ldquo;Hancock,&rdquo; it still feels as though its personalities are squished together in such a forced fashion, it threatens to disrupt the good vibes it garners through much of the film. And, like all of Apartow's blockbuster comedies before it (&ldquo;Knocked Up,&rdquo; Superbad,&rdquo; &ldquo;The 40-Year-Old Virgin&rdquo;), it overstays its welcome by at least 30 minutes. Imagine, if you will, an entire film devoted to the ganja-clouded escapades of Brad Pitt's Floyd, the moviewestoner he portrayed in Tony Scott's &ldquo;True Romance (one of Pitt's best, albeit brief, performances on screen). James Franco channels Floyd, but successfully layers him with empathy and a hint of sadness. Franco is perhaps best known as Peter Parker's frenemy in the &ldquo;Spider-Man&rdquo; trilogy, as well as generic junk like &ldquo;Annapolis&rdquo; and &ldquo;Flyboys,&rdquo; which focused more on his Abercrombe and Fitch good looks than his acting chops. In &ldquo;Express&rdquo; he hides his sculptured silhouette behind a mop of greasy hair and clothes even a college hamper would reject. As Saul, he's a well-connected dealer who, despite his numerous contacts, remains rather friendless, reduced to surface conversations with his quasi-anonymous client&egrave;le whose illegal purchases makes them more than a tad jittery to hang out for deeper disucssions. When Dale (played by co-writer Seth Rogan) pops by for his weekly fix, Saul reaches out by not only introducing him to the headlining herb, but shares his beloved concoction, a triple-ended joint that apparently induces a supreme high. Dale, reluctant at first, humors Saul and doesn't pass up the chance for a token toke. A tiny connection is made before Dale darts off to his thankless gig as a process server that at least provides him the opportunity to blaze up between deliveries. During one seemingly routine stop, Dale witnesses a murder and, in his drug-clouded escape, manages to smash a couple cars and attract the attention of the killers (Gary Cole and Rosie Perez). When he seeks the aid of Saul in a panic, it sets off a series of successively darker detours into pot-fueled paranoia that, were it not for the comic chops of its supporting cast, would otherwise derail this ride. Rogan does his best Rogan, meaning he coasts along with his standard understated charm and his proclivity to cling to the bliss of adolescence. It's Franco who brings out the best of the film, operating under the haze of his trade and letting humanity bubble to the surface at all the right (high) times. But Franco alone could not buoy the picture as it slowly descends into its bloody conclusion. He's helped by the go-to guy for straight-faced snickers Danny McBride, as the link between Saul and the local drug kingpin, as well as Craig Robinson (from &ldquo;The Office&rdquo;) and Kevin Corrigan as two henchmen dispatched to extinguish the leads. Throughout there are throwaway bits that could have easily tightened the two-hour escapade, most notably the romance between Rogan's Dale and his high school girlfriend (yes, she is technically &ldquo;of age,&rdquo; but that makes it no less icky). We get that this guy's unable to motivate into adulthood, but the real relationship here is the one he strikes with Saul. Stylistically, the film breaks free from the relatively staid comedic efforts of recent past, credited to director David Gordon Green, an indie filmmaker whose known more for his dramatic muscle and given the film more flourish than it deserves. The stoner comedy is one that's typically made on a shoestring and relies heavily on its hazy humor than on plot or artistry (Cheech and Chong, Harold and Kumar, &ldquo;Half Baked&rdquo;), and occasionally it will be elevated into headier territory (&ldquo;Dazed and Confused,&rdquo; &ldquo;The Big Lebowski,&rdquo; &ldquo;The Wonder Boys&rdquo;). But this may be the first stoner action film ever made, perhaps because the two adjectives are so diametrically opposed. &ldquo;Pineapple Express&rdquo; would be much easier to inhale if the aftertaste was not so bitter. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_August_4_Let_s_Talk_About_Sex/625/33593/1/ShowPost.aspx Post By: Smooth_J
Post To: Weekly Theme
Post Date: 8/5/2008 9:10:38 PM
Body: If you're looking for more sadomasochistic sex, I really dug Videodrome and it's whip cracking protagonist Max Renn, who pierces his woman's ear to get her and him off and is completely turned on by whipping a television set with the image of said woman on it. There's some pretty sick sexual stuff in there. Blue Velvet also explores these realms, but it's not so central to the story and more of an asset to it. My favorite line that demonstrates this is probably "Baby wants to (bleep)! Baby wants to (bleep) Blue Velvet!" I mean, American Pie is pretty much a given, as is every other turn of the millenium high-school to college sex comedy spinoff that came after it. 40 Year Old Virgin could pretty much be classified as mostly about sex, considering the general plot line. There's so many others that are slipping my mind right now--I thorougly enjoyed Cronenberg's scenes in A History of Violence, how the one is so innocent and childish and the later one is so abusive and dominating. Cronenberg seems like the kinda' guy that really does highlight all of the f*ck scenes. (Trademark Slap Shot)
]]>Wed, 06 Aug 2008 01:10:38 GMTSmooth_JWeekly Theme8/5/2008 9:10:38 PMIf you're looking for more sadomasochistic sex, I really dug Videodrome and it's whip cracking protagonist Max Renn, who pierces his woman's ear to get her and him off and is completely turned on by whipping a television set with the image of said woman on it. There's some pretty sick sexual stuff in there. Blue Velvet also explores these realms, but it's not so central to the story and more of an asset to it. My favorite line that demonstrates this is probably "Baby wants to (bleep)! Baby wants to (bleep) Blue Velvet!" I mean, American Pie is pretty much a given, as is every other turn of the millenium high-school to college sex comedy spinoff that came after it. 40 Year Old Virgin could pretty much be classified as mostly about sex, considering the general plot line. There's so many others that are slipping my mind right now--I thorougly enjoyed Cronenberg's scenes in A History of Violence, how the one is so innocent and childish and the later one is so abusive and dominating. Cronenberg seems like the kinda' guy that really does highlight all of the f*ck scenes. (Trademark Slap Shot) http://www.spout.com/blogs/usesoap/archive/2008/7/28/33203.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 7/28/2008 10:23:35 PM
Body: I get the whole arrested development-style of comedy invading theaters of late. “Old School” and “The 40-Year-Old Virgin” really opened wide the door of such man-boy-based humor. So it was only logical that the star of the former and the director of the latter get together to produce yet another trip to Neverland, where modern-day Peter Pans can dance with their Lost Boy compadres. The result is “Step Brothers,” which teams Will Ferrell with John C. Reilly as two men in their 40s whose remora-like existence is severed when their single parents decide to marry. Where Judd Apatow's “Virgin's” lead was more of an introverted geek who otherwise led a normal, self-sufficient life by societal standards, Ferrell and Reilly play two infantile sluggards whose puerile, petulant behavior and refusal to let go of their parents' proverbial hands would cause Oedipus himself to proclaim, “Man, those guys are messed up!” Ferrell and Reilly play Brennen and Dale, who are in their fourth decade of life and still prone to tantrums, wearing Chewbacca masks and asking permission to sleep in bunkbeds. Not only is this behavior from adults (from anyone other than Adam Sandler, who has established an entire filmography on it) not funny, it's hard not to wonder if they do not suffer from some sort of mental retardation. For they do not approach the world with childlike wonder and amusement, but rather hissy fits and unprovoked aggression. In fact, almost every laugh that manages to escape from “Step Brothers” icy, mirthless grip comes from incidental scenes which do not even feature the leads – a band that sticks to only 80s-era Billy Joel tunes, Brennen's picture-perfect younger brother and his shellacked family of Aryan-like purity. All of this seems fertile turf for Ferrell and his co-conspirators Reilly and director Adam McKay, who collaborated on “Anchorman” and “Talladega Nights.” But unlike “Brothers,” those two films had some sort of narrative drive (thread-thin as they were), with wacky environments in which to work – a 70s-era newsroom and the NASCAR circuit, respectively. By setting the film in a simple suburban environment, there is little else to occupy our minds and force us to focus on just how disturbingly odd these two grown men really are. Escaping from the travesty of what tries to pass as comedy is Mary Steenburgen as Brennan's mom (who, at 55, has never looked more radiant) and character actor Richard Jenkins as Dale's dad, both of whom play their enablers with a tad more dignity than this picture deserves. There is also some inspired support from Adam Scott, ensconced in smarm as the younger, more successful brother, and Kathryn Hahn, making her debut as Scott's repressed wife both wring their lines for all they are worth. The film's R rating gives the cast the freedom to swear like sailors on shore leave, but hearing the F-bomb deployed from Steenburgen's mouth is more sad than amusing. I am certainly the last person to chide others for gutter talk, and it can be effective when used properly, but dropping it into normal conversation just to hear it echo sounds desperate, not shocking. Ferrell and McKay have helped to create one of the internet's most amusing avenues for up-and-coming humor, called FunnyorDie.com. The premise is simple: Users can upload a comic clip, and allow the public to vote into “Immortal Status” or swing the scythe. If “Step Brothers” was posted among some of the other subversive, hysterical clips that now populate the site, it would not last a week.
]]>Tue, 29 Jul 2008 02:23:35 GMTusesoapusesoap Blog7/28/2008 10:23:35 PM I get the whole arrested development-style of comedy invading theaters of late. &ldquo;Old School&rdquo; and &ldquo;The 40-Year-Old Virgin&rdquo; really opened wide the door of such man-boy-based humor. So it was only logical that the star of the former and the director of the latter get together to produce yet another trip to Neverland, where modern-day Peter Pans can dance with their Lost Boy compadres. The result is &ldquo;Step Brothers,&rdquo; which teams Will Ferrell with John C. Reilly as two men in their 40s whose remora-like existence is severed when their single parents decide to marry. Where Judd Apatow's &ldquo;Virgin's&rdquo; lead was more of an introverted geek who otherwise led a normal, self-sufficient life by societal standards, Ferrell and Reilly play two infantile sluggards whose puerile, petulant behavior and refusal to let go of their parents' proverbial hands would cause Oedipus himself to proclaim, &ldquo;Man, those guys are messed up!&rdquo; Ferrell and Reilly play Brennen and Dale, who are in their fourth decade of life and still prone to tantrums, wearing Chewbacca masks and asking permission to sleep in bunkbeds. Not only is this behavior from adults (from anyone other than Adam Sandler, who has established an entire filmography on it) not funny, it's hard not to wonder if they do not suffer from some sort of mental retardation. For they do not approach the world with childlike wonder and amusement, but rather hissy fits and unprovoked aggression. In fact, almost every laugh that manages to escape from &ldquo;Step Brothers&rdquo; icy, mirthless grip comes from incidental scenes which do not even feature the leads &ndash; a band that sticks to only 80s-era Billy Joel tunes, Brennen's picture-perfect younger brother and his shellacked family of Aryan-like purity. All of this seems fertile turf for Ferrell and his co-conspirators Reilly and director Adam McKay, who collaborated on &ldquo;Anchorman&rdquo; and &ldquo;Talladega Nights.&rdquo; But unlike &ldquo;Brothers,&rdquo; those two films had some sort of narrative drive (thread-thin as they were), with wacky environments in which to work &ndash; a 70s-era newsroom and the NASCAR circuit, respectively. By setting the film in a simple suburban environment, there is little else to occupy our minds and force us to focus on just how disturbingly odd these two grown men really are. Escaping from the travesty of what tries to pass as comedy is Mary Steenburgen as Brennan's mom (who, at 55, has never looked more radiant) and character actor Richard Jenkins as Dale's dad, both of whom play their enablers with a tad more dignity than this picture deserves. There is also some inspired support from Adam Scott, ensconced in smarm as the younger, more successful brother, and Kathryn Hahn, making her debut as Scott's repressed wife both wring their lines for all they are worth. The film's R rating gives the cast the freedom to swear like sailors on shore leave, but hearing the F-bomb deployed from Steenburgen's mouth is more sad than amusing. I am certainly the last person to chide others for gutter talk, and it can be effective when used properly, but dropping it into normal conversation just to hear it echo sounds desperate, not shocking. Ferrell and McKay have helped to create one of the internet's most amusing avenues for up-and-coming humor, called FunnyorDie.com. The premise is simple: Users can upload a comic clip, and allow the public to vote into &ldquo;Immortal Status&rdquo; or swing the scythe. If &ldquo;Step Brothers&rdquo; was posted among some of the other subversive, hysterical clips that now populate the site, it would not last a week. http://www.spout.com/members/0/tags/funny/MemberTagFilms.aspxfunny
Number of films tagged: 606

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]]>Wed, 04 Nov 2009 21:40:23 GMT606315939Tag http://www.spout.com/members/0/tags/comedy/MemberTagFilms.aspxcomedy
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]]>Fri, 04 Dec 2009 18:42:37 GMT10852531339Tag http://www.spout.com/members/0/tags/Loved-It/MemberTagFilms.aspxLoved-It
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]]>Fri, 04 Dec 2009 00:50:42 GMT2414126548Tag http://www.spout.com/members/0/tags/Stupid/MemberTagFilms.aspxStupid
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]]>Fri, 09 Oct 2009 19:05:37 GMT1692545Tag http://www.spout.com/members/0/tags/virgin/MemberTagFilms.aspxvirgin
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]]>Thu, 24 Sep 2009 00:22:01 GMT2422038Tag http://www.spout.com/members/0/tags/girlfriend/MemberTagFilms.aspxgirlfriend
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]]>Thu, 17 Sep 2009 21:52:27 GMT5671729Tag http://www.spout.com/members/0/tags/cliche/MemberTagFilms.aspxcliche
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