list http://www.spout.com/ Recent community activity around Superbad 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/Superbad/286651/default.aspx Title: Superbad
Year: 2007
Director: Greg Mottola
Plot: Operating under the assumption that by procuring alcohol for an upcoming party they will finally be able to break their longstanding losing streak with the fairer sex, socially inept high school seniors Evan (Michael Cera) and Seth (Jonah Hill) set out to secure the adult beverages that could get them off of the geek list before they even attend college orientation. Evan is a bright young student whose outward sweetness belies his suffocating fear of heading off to college without his lifelong best friend Seth -- a hormone-driven mischief-maker who wasn't accepted to the same school as Evan. But Evan and Seth both know that college is a place of personal reinvention, and that if they are able to make that first leap together they will have forged a bond powerful enough to last a lifetime. Meanwhile, Evan and Seth's friend Fogell (Christopher Mintz-Plasse) acquires a hastily rendered fake I.D. that instantly endears him to a pair of truly irresponsible cops (Bill Hader and Seth Rogen). Penned by co-star Rogen in collaboration with former Da Ali G Show co-writer Evan Goldberg, the semi-autobiographical SuperBad was produced by Judd Apatow and directed by Greg Mottola -- who previously helmed episodes of Undeclared and Arrested Development. ~ Jason Buchanan, All Movie Guide
Times Tagged: 129
Number of Lists: 73
Number of blog posts: 53
Number of discussion threads: 12
SpoutRating: 4
]]>Wed, 29 Jul 2009 08:00:21 GMTSuperbad2007Greg MottolaOperating under the assumption that by procuring alcohol for an upcoming party they will finally be able to break their longstanding losing streak with the fairer sex, socially inept high school seniors Evan (<a href="/players/P___334354/default.aspx" style='text-decoration:underline'>Michael Cera</a>) and Seth (<a href="/players/P___418718/default.aspx" style='text-decoration:underline'>Jonah Hill</a>) set out to secure the adult beverages that could get them off of the geek list before they even attend college orientation. Evan is a bright young student whose outward sweetness belies his suffocating fear of heading off to college without his lifelong best friend Seth -- a hormone-driven mischief-maker who wasn't accepted to the same school as Evan. But Evan and Seth both know that college is a place of personal reinvention, and that if they are able to make that first leap together they will have forged a bond powerful enough to last a lifetime. Meanwhile, Evan and Seth's friend Fogell (<a href="/players/P___491705/default.aspx" style='text-decoration:underline'>Christopher Mintz-Plasse</a>) acquires a hastily rendered fake I.D. that instantly endears him to a pair of truly irresponsible cops (<a href="/players/P___460678/default.aspx" style='text-decoration:underline'>Bill Hader</a> and <a href="/players/P___297862/default.aspx" style='text-decoration:underline'>Seth Rogen</a>). Penned by co-star Rogen in collaboration with former <a href=/films/224776/default.aspx style='text-decoration:underline'>Da Ali G Show</a> co-writer Evan Goldberg, the semi-autobiographical SuperBad was produced by <a href="/players/P___188203/default.aspx" style='text-decoration:underline'>Judd Apatow</a> and directed by Greg Mottola -- who previously helmed episodes of <a href=/films/36418/default.aspx style='text-decoration:underline'>Undeclared</a> and <a href=/films/331511/default.aspx style='text-decoration:underline'>Arrested Development</a>. ~ Jason Buchanan, All Movie Guide129Tag Target (>10)7353124http://www.spout.com/ProductImages/s286651.jpghttp://www.spout.com/films/Superbad/286651/default.aspxFilm http://www.spout.com/blogs/hautecritique/archive/2009/7/16/43073.aspx Post By: hautecritique
Post To: The Haute Critique on Spout
Post Date: 7/16/2009 3:01:37 PM
Body: It’s mostly a blur. At some point, there was someone’s house. One guy was laying on the floor with a tiny dog licking his face while he giggled uncontrollably. A friend of a friend was picked up and creeping everybody out, and Heather Graham might have called the police on him. That is when I left. Was that my bachelor party or someone else’s? Or, was I watching The Hangover? In comic book jargon, it is the gutter. That blank space between the sequence of images that allows your brain to fill in the gaps. Your imagination searches through the universe of possibilities based on the visible evidence. The Hangover translates this to the big screen. The main difference is he Dali-esque absurdity of the evidence. You see, Doug is getting married on Sunday. He and a couple of friends, along with the bride’s brother, head off for Friday night in Vegas (baby). We see them toasting to the night to come, then the film breaks and resumes late Saturday Morning. The writers take a crack at what would be the most perplexing evidence to wake up to, and then let it slowly ravel. There are times when it is so funny, you can’t keep your eyes open. There are also times where it is so cringe inducing, you can’t keep your eyes open. For all the shut eye, however, there is a fair amount of the movie you will actually watch. And with a little buzz to stretch one chortle to the next, it can be a belly-aching experience. I can strongly recommend blazing it up for The Hangover, but be warned. While it does have the boundary busting humor of Forgetting Sarah Marshall, it is thin on charm. The movie is all about alcohol and date-rape drugs. Where the mushroom Vegas trip in Knocked Up toys with the senses, Jaegermeister leaves the rust on this razor blade. A special shout out does go to Zach Galifianakis. His turn in this movie is special. Not special like Leonardo DiCaprio in What’s Eating Gilbert Grape. Ok, a little like that. He owns the character to a terrifying degree. After this film, I wouldn’t want to meet either of them without their parole officer present. No asylum, insane, political or spiritual, could hold him. Alan (Galifianakis) is excruciatingly cracked and honest. He is a never ending barrage of words and actions that range from brilliantly stupid to utterly revolting. His challenge to decency forces you to define lines that are, otherwise, never pondered. And, at altitude, that feeds the munchies in your subconscious. If you have worn out your copy of Old School and don’t feel like watching Superbad, Forgetting Sarah Marshall, Knocked Up or any other in that litany, give The Hangover a spin. With a bit of herbal seasoning to cover up the tasteless bits, it’s a yummy, if not wholly, just desert. No related posts. Originally posted on:The Haute Critique
]]>Thu, 16 Jul 2009 19:01:37 GMThautecritiqueThe Haute Critique on Spout7/16/2009 3:01:37 PMIt’s mostly a blur. At some point, there was someone’s house. One guy was laying on the floor with a tiny dog licking his face while he giggled uncontrollably. A friend of a friend was picked up and creeping everybody out, and Heather Graham might have called the police on him. That is when I left. Was that my bachelor party or someone else’s? Or, was I watching The Hangover? In comic book jargon, it is the gutter. That blank space between the sequence of images that allows your brain to fill in the gaps. Your imagination searches through the universe of possibilities based on the visible evidence. The Hangover translates this to the big screen. The main difference is he Dali-esque absurdity of the evidence. You see, Doug is getting married on Sunday. He and a couple of friends, along with the bride’s brother, head off for Friday night in Vegas (baby). We see them toasting to the night to come, then the film breaks and resumes late Saturday Morning. The writers take a crack at what would be the most perplexing evidence to wake up to, and then let it slowly ravel. There are times when it is so funny, you can’t keep your eyes open. There are also times where it is so cringe inducing, you can’t keep your eyes open. For all the shut eye, however, there is a fair amount of the movie you will actually watch. And with a little buzz to stretch one chortle to the next, it can be a belly-aching experience. I can strongly recommend blazing it up for The Hangover, but be warned. While it does have the boundary busting humor of Forgetting Sarah Marshall, it is thin on charm. The movie is all about alcohol and date-rape drugs. Where the mushroom Vegas trip in Knocked Up toys with the senses, Jaegermeister leaves the rust on this razor blade. A special shout out does go to Zach Galifianakis. His turn in this movie is special. Not special like Leonardo DiCaprio in What’s Eating Gilbert Grape. Ok, a little like that. He owns the character to a terrifying degree. After this film, I wouldn’t want to meet either of them without their parole officer present. No asylum, insane, political or spiritual, could hold him. Alan (Galifianakis) is excruciatingly cracked and honest. He is a never ending barrage of words and actions that range from brilliantly stupid to utterly revolting. His challenge to decency forces you to define lines that are, otherwise, never pondered. And, at altitude, that feeds the munchies in your subconscious. If you have worn out your copy of Old School and don’t feel like watching Superbad, Forgetting Sarah Marshall, Knocked Up or any other in that litany, give The Hangover a spin. With a bit of herbal seasoning to cover up the tasteless bits, it’s a yummy, if not wholly, just desert. No related posts. Originally posted on:The Haute Critique http://www.spout.com/groups/Community_Recommendations/Re_Collaboration_Best_Films_of_2007/643/37963/1/ShowPost.aspx Post By: mciocco
Post To: Community Recommendations
Post Date: 12/4/2008 5:04:55 PM
Body: I had a little trouble compiling this list last year, but overall I'm pretty happy with it. The only one that I thought about changing in retrospect was Zodiac, which I'd take off the list in favor of Black Book, which has grown on my in hindsight. But for now, I'll leave it the way it is. My top 10 films of 2007...in roughly reverse order (i.e. with the best at the bottom of this list) : Zodiac: This one barely makes it on this list. It's one of the few early year releases that has made it on the list, and as such, it's something I actually want to revisit. But of all the early year films I saw, I remember this being the most interesting and best made. If you know about the Zodiac killer, you know the ending won't provide any real explanations (nor should it) as the killer was never caught in real life. As such, this does diminish some of the tension from the film. Still, director David Fincher has made an impeccable film. It's not as showy or spectacular as his previous efforts. Stylistically, it's rather straightforward, and yet, it's a gorgeous film to look at, and Fincher does manage to imbue some tension throughout the film, which focuses more on the obsession of those trying to find the Zodiac than the Zodiac himself. Gone Baby Gone: It basically starts out as a straightforward crime thriller and mystery and those elements are very well done. But the ending introduces a moral dilemma that has no good answers. You can't help but put yourself into the movie and think about what you would do in such a case, and to be honest, I don't know what I'd do. I suppose I should mention that this is Ben Affleck's directing debut, and he proves shockingly adept at doing so. The Bourne Ultimatum: A fantastic action film, and one of the few sequels worth it's salt in a year of particularly bad sequels. Paul Greengrass' infamous shaky camera is actually put to good use here, and the film also features good performances and great stuntwork. Some may be put off by the camera work, but when you look at a film like this, and then you look at a film like Transformers, you can see a huge difference in style and talent. Superbad: Hands down, the funniest movie of the year. I'm a sucker for raunchy humor with a heart, and this movie has that in spades. Great performances by Jonah Hill and the deadpan Michael Cera, as well as just about everyone else. Of all the movies on this list, this one probably has the most replay value, and is also probably the most quotable. Stardust: This might the most thoroughly enjoyable movie of the year. A great adventure film that evokes The Princess Bride (perhaps unfairly leading to comparisons) while asserting an identity of its own. In a year filled with dark, heavy-hitting dramas, it was nice to sit down to a well done fantasy film. Well directed with good performances (including an unusual turn by Robert DeNiro as a flamboyant pirate) and nice visuals, the real strength of this film is the story, which retains the fun feeling of a fantasy while skirting darker, edgier material. The King of Kong: A Fistful of Quarters: Documentary films don't generally find much of an audience in theaters, but The King of Kong should be in every video game enthusiast's Netflix queue. It delves into the rough and tumble world of competitive video gaming for classic games, particularly Donkey Kong, but it does so kinda like an inspirational sports film. You've got your lovable underdog who has never won anything in his life, and of course the villainous champion who looks down on the underdog and seeks to steal his thunder. There's some controversy over the film, which perhaps takes some liberties with the facts, but it's still a great movie and highly recommended for video game fans. The Orphanage: Certainly the creepiest movie of the year. Though perhaps not exactly a horror film, it establishes a high level of tension all throughout the film, and the story, while a little odd, works pretty well too. A spanish language film that gets unfairly compaired to Pan's Labyrinth, it is nonetheless worth watching for any fan of ghost stories. The Lives of Others: This film actually won the Oscar for best foreign-language film last year (beating out Pan's Labyrinth - a surprise to me), so I might be cheating a bit, but it didn't really have a theatrical release in the U.S. until 2007, so I'm putting it on this list. Set in East Germany during the Cold War, this film follows a Stasi agent who begins to feel for the subjects he's surveiling. It doesn't sound like much, and it's not exactly action-packed, but it is quite compelling and one of the most powerful films of the year. All of the technical aspects of the film are brilliant, especially the script and the nuanced acting by Ulrich Mühe. This film would be amongst the top of any year's list Grindhouse: I'm referring, of course, to the theatrical release of this film. I say this because a lot of critics like to separate the two features and heap praise on Tarantino's Death Proof (which I'll grant, is probably the better of the two, if I were forced to chose), but to me, nothing beats the full experience of the theatrical version. It starts out with a hilarious "fake" trailer, then moves into Robert Rodriguez's Planet Terror, an over=the-top zombie action film done in true grindhouse style (missing reels and all). Following that we get three more absolutely brilliant fake trailers and Tarantino's wonderful Death Proof. The films are dark, they're edgy, and they're probably not for everyone. In attempting to emulate 70s grindhouse cinema, the filmmakers have lovingly reproduced the tropes, some of which may bother audiences (particularly the awkward pacing of both features, which is actuall brilliance in disguise). It's a crime that the theatrical version is not available on DVD. The double-billing was poorly advertised, so it looks like the studio opted to split the films up and give longer cuts of each their own DVD. Supposedly, a 6 disc boxed set containing everything is in the works. No Country for Old Men: The Coen brothers have outdone themselves. This is perhaps a boring pick, as this film is at or near the top of most top 10 lists, but that happened for a reason. It's a great damn film. Gorgeous photography, tension-filled action, and that rare brand of dark humor that the Coens are so good at. It also features the most memorable and terrifying villain in years. The ending is uncompromising and ambiguous (which may turn some viewers off), but I found it quite appropriate. Of all the films this year, this one is best made and most entertaining (if a little dark), a combo that's certainly difficult to pull off. Blatant link whoring: I have a whole slew of honorable mentions, and every year I do a set of awards at my blog, if you're interested...
]]>Thu, 04 Dec 2008 22:04:55 GMTmcioccoCommunity Recommendations12/4/2008 5:04:55 PMI had a little trouble compiling this list last year, but overall I'm pretty happy with it. The only one that I thought about changing in retrospect was Zodiac, which I'd take off the list in favor of Black Book, which has grown on my in hindsight. But for now, I'll leave it the way it is. My top 10 films of 2007...in roughly reverse order (i.e. with the best at the bottom of this list) : Zodiac: This one barely makes it on this list. It's one of the few early year releases that has made it on the list, and as such, it's something I actually want to revisit. But of all the early year films I saw, I remember this being the most interesting and best made. If you know about the Zodiac killer, you know the ending won't provide any real explanations (nor should it) as the killer was never caught in real life. As such, this does diminish some of the tension from the film. Still, director David Fincher has made an impeccable film. It's not as showy or spectacular as his previous efforts. Stylistically, it's rather straightforward, and yet, it's a gorgeous film to look at, and Fincher does manage to imbue some tension throughout the film, which focuses more on the obsession of those trying to find the Zodiac than the Zodiac himself. Gone Baby Gone: It basically starts out as a straightforward crime thriller and mystery and those elements are very well done. But the ending introduces a moral dilemma that has no good answers. You can't help but put yourself into the movie and think about what you would do in such a case, and to be honest, I don't know what I'd do. I suppose I should mention that this is Ben Affleck's directing debut, and he proves shockingly adept at doing so. The Bourne Ultimatum: A fantastic action film, and one of the few sequels worth it's salt in a year of particularly bad sequels. Paul Greengrass' infamous shaky camera is actually put to good use here, and the film also features good performances and great stuntwork. Some may be put off by the camera work, but when you look at a film like this, and then you look at a film like Transformers, you can see a huge difference in style and talent. Superbad: Hands down, the funniest movie of the year. I'm a sucker for raunchy humor with a heart, and this movie has that in spades. Great performances by Jonah Hill and the deadpan Michael Cera, as well as just about everyone else. Of all the movies on this list, this one probably has the most replay value, and is also probably the most quotable. Stardust: This might the most thoroughly enjoyable movie of the year. A great adventure film that evokes The Princess Bride (perhaps unfairly leading to comparisons) while asserting an identity of its own. In a year filled with dark, heavy-hitting dramas, it was nice to sit down to a well done fantasy film. Well directed with good performances (including an unusual turn by Robert DeNiro as a flamboyant pirate) and nice visuals, the real strength of this film is the story, which retains the fun feeling of a fantasy while skirting darker, edgier material. The King of Kong: A Fistful of Quarters: Documentary films don't generally find much of an audience in theaters, but The King of Kong should be in every video game enthusiast's Netflix queue. It delves into the rough and tumble world of competitive video gaming for classic games, particularly Donkey Kong, but it does so kinda like an inspirational sports film. You've got your lovable underdog who has never won anything in his life, and of course the villainous champion who looks down on the underdog and seeks to steal his thunder. There's some controversy over the film, which perhaps takes some liberties with the facts, but it's still a great movie and highly recommended for video game fans. The Orphanage: Certainly the creepiest movie of the year. Though perhaps not exactly a horror film, it establishes a high level of tension all throughout the film, and the story, while a little odd, works pretty well too. A spanish language film that gets unfairly compaired to Pan's Labyrinth, it is nonetheless worth watching for any fan of ghost stories. The Lives of Others: This film actually won the Oscar for best foreign-language film last year (beating out Pan's Labyrinth - a surprise to me), so I might be cheating a bit, but it didn't really have a theatrical release in the U.S. until 2007, so I'm putting it on this list. Set in East Germany during the Cold War, this film follows a Stasi agent who begins to feel for the subjects he's surveiling. It doesn't sound like much, and it's not exactly action-packed, but it is quite compelling and one of the most powerful films of the year. All of the technical aspects of the film are brilliant, especially the script and the nuanced acting by Ulrich M&uuml;he. This film would be amongst the top of any year's list Grindhouse: I'm referring, of course, to the theatrical release of this film. I say this because a lot of critics like to separate the two features and heap praise on Tarantino's Death Proof (which I'll grant, is probably the better of the two, if I were forced to chose), but to me, nothing beats the full experience of the theatrical version. It starts out with a hilarious "fake" trailer, then moves into Robert Rodriguez's Planet Terror, an over=the-top zombie action film done in true grindhouse style (missing reels and all). Following that we get three more absolutely brilliant fake trailers and Tarantino's wonderful Death Proof. The films are dark, they're edgy, and they're probably not for everyone. In attempting to emulate 70s grindhouse cinema, the filmmakers have lovingly reproduced the tropes, some of which may bother audiences (particularly the awkward pacing of both features, which is actuall brilliance in disguise). It's a crime that the theatrical version is not available on DVD. The double-billing was poorly advertised, so it looks like the studio opted to split the films up and give longer cuts of each their own DVD. Supposedly, a 6 disc boxed set containing everything is in the works. No Country for Old Men: The Coen brothers have outdone themselves. This is perhaps a boring pick, as this film is at or near the top of most top 10 lists, but that happened for a reason. It's a great damn film. Gorgeous photography, tension-filled action, and that rare brand of dark humor that the Coens are so good at. It also features the most memorable and terrifying villain in years. The ending is uncompromising and ambiguous (which may turn some viewers off), but I found it quite appropriate. Of all the films this year, this one is best made and most entertaining (if a little dark), a combo that's certainly difficult to pull off. Blatant link whoring: I have a whole slew of honorable mentions, and every year I do a set of awards at my blog, if you're interested... http://www.spout.com/groups/Weekly_Movie_Prep/Weekly_Prep_for_10_24_Releases/651/36621/1/ShowPost.aspx Post By: ChrisThilk
Post To: Weekly Movie Prep
Post Date: 10/23/2008 12:29:51 PM
Body: It's going to be an interesting Friday in theaters this week. You've got a handful of horror, a pretty standard looking cop flick, a period drama directed by one of Hollywood's elder statesmen and the third entry in a pre-pubescent-targeted series that's filled with singing and dancing basketball players. So it's a mixed bag to say the least. And here's what I'm probably watching in preparation for those: Changeling: Million Dollar Baby, Bridges of Madison County, Bronco Billy, A Mighty Heart - Clint Eastwood has a strong tendency to overdo it when it comes to putting his female characters up on a pedastal and these few movies are perfect examples of that. The last one, of course, is Angelina Jolie's previous entry in the "Won't Someone Help Me Find..." genre, something that allows her primarily to put those ginormous lips to their best pouting usage. High School Musical 3: High School Musical, High School Musical 2, Fast Times at Ridgemont High, The Breakfast Club, Superbad - It's best not to ask why I'm going to wind up seeing HSM3. But catching up on the story so far and then cleansing the pallet with some quality tales of high school hijinks that are decidedly less family-friendly is probably a good idea. I'm not much of a horror fan so I'm not likely to see the new batch of flicks. But what's on your docket for this week?
]]>Thu, 23 Oct 2008 16:29:51 GMTChrisThilkWeekly Movie Prep10/23/2008 12:29:51 PMIt's going to be an interesting Friday in theaters this week. You've got a handful of horror, a pretty standard looking cop flick, a period drama directed by one of Hollywood's elder statesmen and the third entry in a pre-pubescent-targeted series that's filled with singing and dancing basketball players. So it's a mixed bag to say the least. And here's what I'm probably watching in preparation for those: Changeling: Million Dollar Baby, Bridges of Madison County, Bronco Billy, A Mighty Heart - Clint Eastwood has a strong tendency to overdo it when it comes to putting his female characters up on a pedastal and these few movies are perfect examples of that. The last one, of course, is Angelina Jolie's previous entry in the "Won't Someone Help Me Find..." genre, something that allows her primarily to put those ginormous lips to their best pouting usage. High School Musical 3: High School Musical, High School Musical 2, Fast Times at Ridgemont High, The Breakfast Club, Superbad - It's best not to ask why I'm going to wind up seeing HSM3. But catching up on the story so far and then cleansing the pallet with some quality tales of high school hijinks that are decidedly less family-friendly is probably a good idea. I'm not much of a horror fan so I'm not likely to see the new batch of flicks. But what's on your docket for this week? http://www.spout.com/blogs/karina/archive/2008/10/7/36012.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 10/7/2008 3:01:35 PM
Body: Mean Magazine Presents Emma Stone from Mean Magazine on Vimeo. Yesterday, MEAN Magazine released (or, sent out a press release about) their latest viral video, a “remake” of Bad Lieutenant starring SNL’s Bill Hader (”Eat your heart out, Werner Herzog,” reads the explanatory title card.) It’s okay. The best part is Hader’s final, weepy line, “I’m such a bad lieutenant!” But more interesting is a MEAN video that I missed, the above “Emma Stone in Busby Berkeley 2.0.” With Stone (Jonah Hill’s love interest from Superbad) wearing a vintage bathing suit and staring coquettishly at the camera amidst digital kaleodoscopic chaos, it’s less Busby Berkely than a retro-porn spin on Esther Williams. But it’s pretty! Originally posted on:SpoutBlog » Karina Longworth
]]>Tue, 07 Oct 2008 19:01:35 GMTKarinaKarina on SpoutBlog10/7/2008 3:01:35 PM Mean Magazine Presents Emma Stone from Mean Magazine on Vimeo. Yesterday, MEAN Magazine released (or, sent out a press release about) their latest viral video, a “remake” of Bad Lieutenant starring SNL’s Bill Hader (”Eat your heart out, Werner Herzog,” reads the explanatory title card.) It’s okay. The best part is Hader’s final, weepy line, “I’m such a bad lieutenant!” But more interesting is a MEAN video that I missed, the above “Emma Stone in Busby Berkeley 2.0.” With Stone (Jonah Hill’s love interest from Superbad) wearing a vintage bathing suit and staring coquettishly at the camera amidst digital kaleodoscopic chaos, it’s less Busby Berkely than a retro-porn spin on Esther Williams. But it’s pretty! Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/10/7/36011.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 10/7/2008 3:01:22 PM
Body: Mean Magazine Presents Emma Stone from Mean Magazine on Vimeo. Yesterday, MEAN Magazine released (or, sent out a press release about) their latest viral video, a “remake” of Bad Lieutenant starring SNL’s Bill Hader (”Eat your heart out, Werner Herzog,” reads the explanatory title card.) It’s okay. The best part is Hader’s final, weepy line, “I’m such a bad lieutenant!” But more interesting is a MEAN video that I missed, the above “Emma Stone in Busby Berkeley 2.0.” With Stone (Jonah Hill’s love interest from Superbad) wearing a vintage bathing suit and staring coquettishly at the camera amidst digital kaleodoscopic chaos, it’s less Busby Berkely than a retro-porn spin on Esther Williams. But it’s pretty! Originally posted on:SpoutBlog
]]>Tue, 07 Oct 2008 19:01:22 GMTSpoutBlogSpoutBlog on spout.com10/7/2008 3:01:22 PM Mean Magazine Presents Emma Stone from Mean Magazine on Vimeo. Yesterday, MEAN Magazine released (or, sent out a press release about) their latest viral video, a “remake” of Bad Lieutenant starring SNL’s Bill Hader (”Eat your heart out, Werner Herzog,” reads the explanatory title card.) It’s okay. The best part is Hader’s final, weepy line, “I’m such a bad lieutenant!” But more interesting is a MEAN video that I missed, the above “Emma Stone in Busby Berkeley 2.0.” With Stone (Jonah Hill’s love interest from Superbad) wearing a vintage bathing suit and staring coquettishly at the camera amidst digital kaleodoscopic chaos, it’s less Busby Berkely than a retro-porn spin on Esther Williams. But it’s pretty! Originally posted on:SpoutBlog 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/spoutblog/archive/2008/9/15/35175.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/15/2008 6:01:15 PM
Body: The first thing you notice about Michael Cera in person is that he seems a lot smaller and skinnier than he does in the movies. Maybe it’s actually true that the camera adds ten pounds. He’s also even nicer and seemingly more vulnerable than the characters he plays, if that were actually possible. His role as Nick in Nick and Norah’s Infinite Playlist is nothing new for him, but because he’s so honest and innocent, it hasn’t gotten old. Yet. He’s like the Lloyd Dobbler for an entirely new generation. Read on for our interview with Michael in Toronto to find out all about the Arrested Development movie, how he likes his coffee (and what that says about how he likes his men), and what Lindsay Anderson film’s soundtrack he should hav on his iPod, but doesn’t. Do you mind if I make a coffee real quick? Go ahead. I can talk while I’m over here. How do you take your coffee? With sugar and milk. Like your men. [Laughter] I like it really delicious. That’s a good way to like it. It tastes best that way. So how did this project come to you? My manager sent me Raising Victor Vargas,  which is the movie that Pete (Sollett) did. And I really loved it and wanted to meet with him. And then I went to New York and met him and really like him and wanted to work with him. I thought he would do the movie really well. And we made it. Your career has obviously taken off pretty astronomically in the last year or so. I’m curious how you feel about the way things are going. Are you comfortable with it? Do you enjoy it? Yeah. I’ve been enjoying it, yeah. I enjoy working. I really like it. Being on sets. It’s nice, being able to do that. Being able to continue doing it. [laughs] When you were doing Arrested Development did you expect that you would achieve this kind of success? No. I never think about it or expect anything. I still don’t. I just like working and like being on sets. [laughs] Yeah. Is it nice to work on a project where you have the opportunity to showcase your improvisation skills? Yeah, it’s fun. It’s fun doing that. Just having a conversation, and it always feels real because it is real. You’re just talking off the top of your head. Yeah. Just being able to do that. It’s also nice having a script. It’s fun doing both. Where a script is carefully plotted. I mean this, with the movie, the whole plot is us getting to know each other. So we could just talk about anything and it would establish that we’re getting to know each other. That’s kind of a driving force of the movie. So with this we could just talk. Have you studied improvisation? Or is it something that you guys just did? I did that. Like these games, where you can take Second City classes here (in Toronto), and you just play games with other kids. I guess I probably learned something from that. Just listen, that’s all you have to do. I think anyone can do it. If you can have a conversation, you can improvise. As long as you’re not trying to be funny. That’s when you can start to, you know, trick yourself. It’s just much easier to talk than to worry about being funny. I’m curious, because you guys are kind of in the target demo that movies like this and Superbad and Juno are aimed at. What do you think is different about these movies of the last couple of years, as opposed to back in the ’90s when we had a lot of teen movies that were maybe a little more gross-out based, a little more sexist perhaps. Do you like any of the movies that come out now? I like anything that feels authentic or comes from a real place. Comes from someone’s heart. I’ve never liked those gross out comedies. I watch a lot of movies and that’s not really what I watch or like. I just try and do things that I think I would like. Are there ever situations where you will read something in a script, in a movie like this or another movie that you’ve done, and you’ll say, “OK, this isn’t really how I would respond in this sort of situation,” and you try to sort of lead them in more authentic direction? Sometimes, yeah. Sometimes. But sometimes it’s good to not respond the way you would respond. It depends, I guess. But sometimes it’s definitely like, “This sort of doesn’t ring true.” And you can work with the director or the writers on that. Pete was was good about that. Yeah. It’s good when you work with people that are collaborative and open minded. That’s what I’ve always found, is the people that aren’t afraid of forfeiting control kind of come out with the best products. If [a director is] afraid of forfeiting control, it seems like you shouldn’t be afraid at all, because you can make decisions in the editing room. And that’s totally where that happens. But you create options on set and you can only get it once unless you come back and reshoot. Obviously this movie centers around music and it and Juno both have amazing soundtracks. I’m curious about what your relationship is with music, and how you feel about the use in movies. Yeah. Music in movies is important, I think, and can totally change a movie. Absolutely. Yeah. It totally creates the tone. Some movies work without music, like… No Country For Old Men. Annie Hall. But it’s a conscious choice. You feel that, you feel that lack of music. Or like The Long Goodbye. Have you ever seen The Long Goodbye? There’s that theme song all throughout it, different versions of that wherever he goes. You always recognize it every time. It’s great. So, what’s on your iPod? I like movie music a lot and I like Neil Young, and Beach Boys and Alan Price and Alden Petter. Yeah, you know Alan Price? Have you seen O Lucky Man? Yeah, that’s a great soundtrack, it’s a wonderful film. Yeah, that’s a fantastic movie. That’s not on my iPod, that movie but, I guess it should be. So you play guitar? Yeah, and a little piano. But you had to learn how to play bass for this movie, right? Or fake it, I just kind of fake it. If you play guitar you can play bass. Yeah, its true, I felt confident in faking it. You’ve been in two of the biggest movies of the last year, but what keeps you grounded? You seem normal. That’s good. I don’t know, do people change? I’ve never met someone who’s changed. I think that was bound to happen no matter what they were doing. But, it depends on who you are I guess, I don’t know. How much do you relate to your characters in real life? I can relate to being broken up with and heartache and meeting someone and striking up a friendship. A lot of people can. Any tips for getting over a breakup? Watch this movie. [laughter] No, I was just joking, create a breakup CD. We keep hearing things about the Arrested Development movie, is it actually happening as far as you know? We’re not in production and I haven’t read a script. I know Jason (Bateman) wants to, and I don’t know if Mitch (Hurwitz) wants to. But, I would only want to be a part of it if it was going to be good. Because, its good to end on a high note, I think, and go out with a bang and leave the winning war. That’s just my instinct. I don’t think it would be worth doing unless it was going to live up to the expectation that might come with it. Can you talk a little bit about the legacy of that show? Because for a few people its like Freaks and Geeks, another one that got taken away before its time. Yeah, but we did have a good run, three seasons was more than I ever expected when we started. Because right off the bat we were told its not going to good and we may not get a back nine, so I was surprised every time it got picked up. It was nice and it had a nice following. Its nice to have a band of people who really love it. Its nice, it makes me feel good whenever people come up and talk about it. It feels like a tight knit group of fans, and that’s nice. I think it had a pretty good run, it told a long story. I love Freaks and Geeks too. I just treasure those episodes. I watch them over and over. I know you’ve got Youth In Revolt coming out? Oh, Youth In Revolt, yeah, its coming out in February, I think. Its based on a book. It says in here that its your favorite book. Yeah, I love the book, its a great book. It’s about a young guy who meets a girl on a family vacation and becomes obsessed with her. Its a great book by C.D. Payne, anyone should read it. I read it like five times. I love the book; I love the character and was so excited to it. I’m really happy with the experience, I think the movie will be good. Who plays the girl? Portia Doubleday, she is an actress that I don’t think has done very much and she’s great. Where was it shot? In Michigan, around the Detroit area and Ann Arbor. Do you go home a lot? Yeah, I’m home right now in Toronto. Yeah, I’m going to be here a little while after the festival. Originally posted on:SpoutBlog
]]>Mon, 15 Sep 2008 22:01:15 GMTSpoutBlogSpoutBlog on spout.com9/15/2008 6:01:15 PM The first thing you notice about Michael Cera in person is that he seems a lot smaller and skinnier than he does in the movies. Maybe it’s actually true that the camera adds ten pounds. He’s also even nicer and seemingly more vulnerable than the characters he plays, if that were actually possible. His role as Nick in Nick and Norah’s Infinite Playlist is nothing new for him, but because he’s so honest and innocent, it hasn’t gotten old. Yet. He’s like the Lloyd Dobbler for an entirely new generation. Read on for our interview with Michael in Toronto to find out all about the Arrested Development movie, how he likes his coffee (and what that says about how he likes his men), and what Lindsay Anderson film’s soundtrack he should hav on his iPod, but doesn’t. Do you mind if I make a coffee real quick? Go ahead. I can talk while I’m over here. How do you take your coffee? With sugar and milk. Like your men. [Laughter] I like it really delicious. That’s a good way to like it. It tastes best that way. So how did this project come to you? My manager sent me Raising Victor Vargas,  which is the movie that Pete (Sollett) did. And I really loved it and wanted to meet with him. And then I went to New York and met him and really like him and wanted to work with him. I thought he would do the movie really well. And we made it. Your career has obviously taken off pretty astronomically in the last year or so. I’m curious how you feel about the way things are going. Are you comfortable with it? Do you enjoy it? Yeah. I’ve been enjoying it, yeah. I enjoy working. I really like it. Being on sets. It’s nice, being able to do that. Being able to continue doing it. [laughs] When you were doing Arrested Development did you expect that you would achieve this kind of success? No. I never think about it or expect anything. I still don’t. I just like working and like being on sets. [laughs] Yeah. Is it nice to work on a project where you have the opportunity to showcase your improvisation skills? Yeah, it’s fun. It’s fun doing that. Just having a conversation, and it always feels real because it is real. You’re just talking off the top of your head. Yeah. Just being able to do that. It’s also nice having a script. It’s fun doing both. Where a script is carefully plotted. I mean this, with the movie, the whole plot is us getting to know each other. So we could just talk about anything and it would establish that we’re getting to know each other. That’s kind of a driving force of the movie. So with this we could just talk. Have you studied improvisation? Or is it something that you guys just did? I did that. Like these games, where you can take Second City classes here (in Toronto), and you just play games with other kids. I guess I probably learned something from that. Just listen, that’s all you have to do. I think anyone can do it. If you can have a conversation, you can improvise. As long as you’re not trying to be funny. That’s when you can start to, you know, trick yourself. It’s just much easier to talk than to worry about being funny. I’m curious, because you guys are kind of in the target demo that movies like this and Superbad and Juno are aimed at. What do you think is different about these movies of the last couple of years, as opposed to back in the ’90s when we had a lot of teen movies that were maybe a little more gross-out based, a little more sexist perhaps. Do you like any of the movies that come out now? I like anything that feels authentic or comes from a real place. Comes from someone’s heart. I’ve never liked those gross out comedies. I watch a lot of movies and that’s not really what I watch or like. I just try and do things that I think I would like. Are there ever situations where you will read something in a script, in a movie like this or another movie that you’ve done, and you’ll say, “OK, this isn’t really how I would respond in this sort of situation,” and you try to sort of lead them in more authentic direction? Sometimes, yeah. Sometimes. But sometimes it’s good to not respond the way you would respond. It depends, I guess. But sometimes it’s definitely like, “This sort of doesn’t ring true.” And you can work with the director or the writers on that. Pete was was good about that. Yeah. It’s good when you work with people that are collaborative and open minded. That’s what I’ve always found, is the people that aren’t afraid of forfeiting control kind of come out with the best products. If [a director is] afraid of forfeiting control, it seems like you shouldn’t be afraid at all, because you can make decisions in the editing room. And that’s totally where that happens. But you create options on set and you can only get it once unless you come back and reshoot. Obviously this movie centers around music and it and Juno both have amazing soundtracks. I’m curious about what your relationship is with music, and how you feel about the use in movies. Yeah. Music in movies is important, I think, and can totally change a movie. Absolutely. Yeah. It totally creates the tone. Some movies work without music, like… No Country For Old Men. Annie Hall. But it’s a conscious choice. You feel that, you feel that lack of music. Or like The Long Goodbye. Have you ever seen The Long Goodbye? There’s that theme song all throughout it, different versions of that wherever he goes. You always recognize it every time. It’s great. So, what’s on your iPod? I like movie music a lot and I like Neil Young, and Beach Boys and Alan Price and Alden Petter. Yeah, you know Alan Price? Have you seen O Lucky Man? Yeah, that’s a great soundtrack, it’s a wonderful film. Yeah, that’s a fantastic movie. That’s not on my iPod, that movie but, I guess it should be. So you play guitar? Yeah, and a little piano. But you had to learn how to play bass for this movie, right? Or fake it, I just kind of fake it. If you play guitar you can play bass. Yeah, its true, I felt confident in faking it. You’ve been in two of the biggest movies of the last year, but what keeps you grounded? You seem normal. That’s good. I don’t know, do people change? I’ve never met someone who’s changed. I think that was bound to happen no matter what they were doing. But, it depends on who you are I guess, I don’t know. How much do you relate to your characters in real life? I can relate to being broken up with and heartache and meeting someone and striking up a friendship. A lot of people can. Any tips for getting over a breakup? Watch this movie. [laughter] No, I was just joking, create a breakup CD. We keep hearing things about the Arrested Development movie, is it actually happening as far as you know? We’re not in production and I haven’t read a script. I know Jason (Bateman) wants to, and I don’t know if Mitch (Hurwitz) wants to. But, I would only want to be a part of it if it was going to be good. Because, its good to end on a high note, I think, and go out with a bang and leave the winning war. That’s just my instinct. I don’t think it would be worth doing unless it was going to live up to the expectation that might come with it. Can you talk a little bit about the legacy of that show? Because for a few people its like Freaks and Geeks, another one that got taken away before its time. Yeah, but we did have a good run, three seasons was more than I ever expected when we started. Because right off the bat we were told its not going to good and we may not get a back nine, so I was surprised every time it got picked up. It was nice and it had a nice following. Its nice to have a band of people who really love it. Its nice, it makes me feel good whenever people come up and talk about it. It feels like a tight knit group of fans, and that’s nice. I think it had a pretty good run, it told a long story. I love Freaks and Geeks too. I just treasure those episodes. I watch them over and over. I know you’ve got Youth In Revolt coming out? Oh, Youth In Revolt, yeah, its coming out in February, I think. Its based on a book. It says in here that its your favorite book. Yeah, I love the book, its a great book. It’s about a young guy who meets a girl on a family vacation and becomes obsessed with her. Its a great book by C.D. Payne, anyone should read it. I read it like five times. I love the book; I love the character and was so excited to it. I’m really happy with the experience, I think the movie will be good. Who plays the girl? Portia Doubleday, she is an actress that I don’t think has done very much and she’s great. Where was it shot? In Michigan, around the Detroit area and Ann Arbor. Do you go home a lot? Yeah, I’m home right now in Toronto. Yeah, I’m going to be here a little while after the festival. Originally posted on:SpoutBlog http://www.spout.com/blogs/aidanbrack/archive/2008/8/20/34182.aspx Post By: aidanbrack
Post To: The Bigger Picture
Post Date: 8/20/2008 12:31:28 PM
Body: Superbad is a movie that has a great trick up its sleeve. In its opening thirty minutes the film appears to be an American Pie-style comedy about three high school boys who want to attend a party in order to get laid, yet by the end it has evolved into an examination of friendship and a moment of change in young people’s lives. Evan and Seth (named after the film’s two writers) are social outcasts. Awkward and geeky, they never receive invitations to high school parties and lust after two girls from their school. When Seth’s crush, Jules, invites him to a party and asks him to pick up liquor he leaps at the opportunity, seeing a chance to get her into bed and make her his girlfriend until college starts. Meanwhile Evan tells Becca that he will be at the party and promises to pick up a bottle of vodka for her on the way. Unfortunately for Seth and Evan, their plan hinges upon another lad who is picking up a fake ID. Fogel is beyond awkward and is a rail-thin geek who the boys are vaguely embarrassed to be friends with. He is also a little dim, as is revealed when he produces his fake ID in one of the film’s funniest scenes. What ought to be a simple task goes badly wrong when Fogel goes into the liquor store and events spiral quickly further and further out of control. At this point the narrative splits in two, separating Evan and Seth from Fogel, who have their own adventure. Superbad’s strength is in its power of observation. I remember my own high school days and college days and instantly recognized each of the characters from my own circle of friends. Of the three I would like to think I was Evan but that is for others to judge. Much of the humor comes out of the way the boys talk to each other. The writers capture perfectly the casual use of obscenity and the obsession with all things sexual that makes up the character of teenaged boys. The dialogue is incredibly blue and laced with teenaged misogyny. I found it amusing for the most part although it does push the boundaries a little hard for my liking on occasion. It is quite possible that some may find the male characters’ attitudes toward women to be tasteless or offensive. For instance, a sequence involving menstruation is puerile and an indulgent low-point of the film. Overlooking that moment however, I found this film funny and perversely charming. Its leads are fun with Michael Cera, who was recently in Juno, proving a particular delight as the shy and awkward Evan, whilst the script rarely lets up on laughs. I began this review by saying that the film’s opening led me to expect American Pie. By its end it has developed into Withnail & I, showing us the end of an era and the breaking apart of a significant friendship. I cannot unconditionally recommend Superbad – its style of dry, blue humor will certainly not appeal to everyone – but the surprise it pulls through this shift of theme was significant for me and left me pondering my own teenaged friendships that disintegrated as I grew older.
]]>Wed, 20 Aug 2008 16:31:28 GMTaidanbrackThe Bigger Picture8/20/2008 12:31:28 PMSuperbad is a movie that has a great trick up its sleeve. In its opening thirty minutes the film appears to be an American Pie-style comedy about three high school boys who want to attend a party in order to get laid, yet by the end it has evolved into an examination of friendship and a moment of change in young people&rsquo;s lives. Evan and Seth (named after the film&rsquo;s two writers) are social outcasts. Awkward and geeky, they never receive invitations to high school parties and lust after two girls from their school. When Seth&rsquo;s crush, Jules, invites him to a party and asks him to pick up liquor he leaps at the opportunity, seeing a chance to get her into bed and make her his girlfriend until college starts. Meanwhile Evan tells Becca that he will be at the party and promises to pick up a bottle of vodka for her on the way. Unfortunately for Seth and Evan, their plan hinges upon another lad who is picking up a fake ID. Fogel is beyond awkward and is a rail-thin geek who the boys are vaguely embarrassed to be friends with. He is also a little dim, as is revealed when he produces his fake ID in one of the film&rsquo;s funniest scenes. What ought to be a simple task goes badly wrong when Fogel goes into the liquor store and events spiral quickly further and further out of control. At this point the narrative splits in two, separating Evan and Seth from Fogel, who have their own adventure. Superbad&rsquo;s strength is in its power of observation. I remember my own high school days and college days and instantly recognized each of the characters from my own circle of friends. Of the three I would like to think I was Evan but that is for others to judge. Much of the humor comes out of the way the boys talk to each other. The writers capture perfectly the casual use of obscenity and the obsession with all things sexual that makes up the character of teenaged boys. The dialogue is incredibly blue and laced with teenaged misogyny. I found it amusing for the most part although it does push the boundaries a little hard for my liking on occasion. It is quite possible that some may find the male characters&rsquo; attitudes toward women to be tasteless or offensive. For instance, a sequence involving menstruation is puerile and an indulgent low-point of the film. Overlooking that moment however, I found this film funny and perversely charming. Its leads are fun with Michael Cera, who was recently in Juno, proving a particular delight as the shy and awkward Evan, whilst the script rarely lets up on laughs. I began this review by saying that the film&rsquo;s opening led me to expect American Pie. By its end it has developed into Withnail &amp; I, showing us the end of an era and the breaking apart of a significant friendship. I cannot unconditionally recommend Superbad &ndash; its style of dry, blue humor will certainly not appeal to everyone &ndash; but the surprise it pulls through this shift of theme was significant for me and left me pondering my own teenaged friendships that disintegrated as I grew older. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_August_18_Fat_Kids/625/34133/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 8/19/2008 8:52:33 PM
Body: I do like the trend of shying away from the negative perception of overweight kids and giving them the chance to do more than make snarky comments about exercise and fart jokes (not that fart jokes are entirely bad) like in Little Miss Sunshine (Abigail Breslin was more chubby than fat - i.e. the little tummy pad they made her wear) and Superbad (in which Jonah Hill is moreso a horned up dweeb than the fat guy).
]]>Wed, 20 Aug 2008 00:52:33 GMTmercurialWeekly Theme8/19/2008 8:52:33 PMI do like the trend of shying away from the negative perception of overweight kids and giving them the chance to do more than make snarky comments about exercise and fart jokes (not that fart jokes are entirely bad) like in Little Miss Sunshine (Abigail Breslin was more chubby than fat - i.e. the little tummy pad they made her wear) and Superbad (in which Jonah Hill is moreso a horned up dweeb than the fat guy). 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/members/0/tags/funny/MemberTagFilms.aspxfunny
Number of films tagged: 607

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