list http://www.spout.com/ Recent community activity around Step Brothers 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/Step_Brothers/289175/default.aspx Title: Step Brothers
Year: 2008
Director: Adam McKay
Plot: Talladega Nights: The Ballad of Ricky Bobby co-stars Will Ferrell and John C. Reilly re-team with that film's director, Adam McKay, to tell the tale of two pampered best friends whose single parents fall in love and decide to marry. McKay and Ferrell share screenwriting credits, and Judd Apatow and Jimmy Miller produce. ~ Jason Buchanan, All Movie Guide
Times Tagged: 13
Number of Lists: 15
Number of blog posts: 11
Number of discussion threads: 4
SpoutRating: 3
]]>Wed, 25 Feb 2009 18:56:46 GMTStep Brothers2008Adam McKayTalladega Nights: The Ballad of Ricky Bobby co-stars <a href="http://www.spout.com/players/P___224449/default.aspx" style='text-decoration:underline'>Will Ferrell</a> and John C. Reilly re-team with that film's director, <a href="http://www.spout.com/players/P___367020/default.aspx" style='text-decoration:underline'>Adam McKay</a>, to tell the tale of two pampered best friends whose single parents fall in love and decide to marry. McKay and Ferrell share screenwriting credits, and <a href="http://www.spout.com/players/P___188203/default.aspx" style='text-decoration:underline'>Judd Apatow</a> and Jimmy Miller produce. ~ Jason Buchanan, All Movie Guide13Tag Target (>10)151143http://www.spout.com/ProductImages/s289175.jpghttp://www.spout.com/films/Step_Brothers/289175/default.aspxFilm http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_February_23_Karaoke_Party/625/40638/1/ShowPost.aspx Post By: SkyPilot
Post To: Weekly Theme
Post Date: 2/25/2009 1:56:46 PM
Body: I think Step Brothers is pretty funny (though not as good as Talladega Nights), and I was genuinely happy for the characters when they start a karaoke company. As they present their business plan to their parents, it sounds as if their mission statement was written by American Idol's Simon. My writing can't do the performances justice, but their enthusiasm was contagious: FERRELL: This is karaoke for people who know what they're doing. REILLY: Yeah, if you don't got it, then just sit down!
]]>Wed, 25 Feb 2009 18:56:46 GMTSkyPilotWeekly Theme2/25/2009 1:56:46 PMI think Step Brothers is pretty funny (though not as good as Talladega Nights), and I was genuinely happy for the characters when they start a karaoke company. As they present their business plan to their parents, it sounds as if their mission statement was written by American Idol's Simon. My writing can't do the performances justice, but their enthusiasm was contagious: FERRELL: This is karaoke for people who know what they're doing. REILLY: Yeah, if you don't got it, then just sit down! http://www.spout.com/blogs/karina/archive/2009/1/15/39556.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 1/15/2009 10:01:24 AM
Body: The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically.  It’s something I very proud of.  Maybe the first film on Vision 1 since the eighties. In part, I wanted to make The Vicious Kind because I’ve long been a fan of the transgressive qualities in John Cassavetes’ films, and I wanted to make a film that felt somewhat reckless.  I liked the idea of a story and characters that didn’t necessarily fall under the “indiewood” category, and didn’t pull any punches.  Similar to Cassavetes’ approach in “Faces,” I wanted to make a film that would provide a setting where my lead actors could run a bit wild. I like to sell The Vicious Kind as The Squid & The Whale meets In the Company of Men. What that description doesn’t tell you is that the film is a redemption tale in which the lead, Caleb, played by Adam Scott, is a recluse and somewhat of a misanthrope.  Anyone who’s seen Step Brothers knows Adam can play “the asshole you love to hate” perfectly.   I think for people that see my film they’re going to discover Adam is an phenomenally sophisticated actor who can texture a performance in such a way that he’s menacing and perverse, and at the same time vulnerable and endearing. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I’ve been lucky to not have too many “real jobs”.  I interned a lot during film school at various production companies.  I spent my time there reading scripts and answering phones, but I was terrible because I was constantly trying to either work on my own material or stealing production books in an effort to educate myself.  I’ve also spent time creating original content for MySpace.  Low points included doing shows on both the Hilton and Kardashian sisters.  Those were days where you go home and try to figure out how to apply to law school. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I’ve never been to Sundance, and, based on impressions I’ve been given, I’m most looking forward to freezing my ass off as I try to get into screenings/dinners/parties (even my own) and totally striking out.  Then, just as I’m about to give up, Paris Hilton strolls by (through the snow) in a skirt and five-inch stilettos and walks right in without any credentials whatsoever.  At which point I can tell whoever is next to me, “I didn’t need to leave LA to watch Paris Hilton pass the line I’m standing in.” Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is a brutal question.  The two that come to mind now would be Jules et Jim and then Rushmore—in that order.  Both films are romantic in their own quirky way, and they both make me feel wonderful.  I like the idea of feeling the way those films make me feel before I depart. Originally posted on:SpoutBlog » Karina Longworth
]]>Thu, 15 Jan 2009 15:01:24 GMTKarinaKarina on SpoutBlog1/15/2009 10:01:24 AM The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically.  It’s something I very proud of.  Maybe the first film on Vision 1 since the eighties. In part, I wanted to make The Vicious Kind because I’ve long been a fan of the transgressive qualities in John Cassavetes’ films, and I wanted to make a film that felt somewhat reckless.  I liked the idea of a story and characters that didn’t necessarily fall under the “indiewood” category, and didn’t pull any punches.  Similar to Cassavetes’ approach in “Faces,” I wanted to make a film that would provide a setting where my lead actors could run a bit wild. I like to sell The Vicious Kind as The Squid & The Whale meets In the Company of Men. What that description doesn’t tell you is that the film is a redemption tale in which the lead, Caleb, played by Adam Scott, is a recluse and somewhat of a misanthrope.  Anyone who’s seen Step Brothers knows Adam can play “the asshole you love to hate” perfectly.   I think for people that see my film they’re going to discover Adam is an phenomenally sophisticated actor who can texture a performance in such a way that he’s menacing and perverse, and at the same time vulnerable and endearing. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I’ve been lucky to not have too many “real jobs”.  I interned a lot during film school at various production companies.  I spent my time there reading scripts and answering phones, but I was terrible because I was constantly trying to either work on my own material or stealing production books in an effort to educate myself.  I’ve also spent time creating original content for MySpace.  Low points included doing shows on both the Hilton and Kardashian sisters.  Those were days where you go home and try to figure out how to apply to law school. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I’ve never been to Sundance, and, based on impressions I’ve been given, I’m most looking forward to freezing my ass off as I try to get into screenings/dinners/parties (even my own) and totally striking out.  Then, just as I’m about to give up, Paris Hilton strolls by (through the snow) in a skirt and five-inch stilettos and walks right in without any credentials whatsoever.  At which point I can tell whoever is next to me, “I didn’t need to leave LA to watch Paris Hilton pass the line I’m standing in.” Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is a brutal question.  The two that come to mind now would be Jules et Jim and then Rushmore—in that order.  Both films are romantic in their own quirky way, and they both make me feel wonderful.  I like the idea of feeling the way those films make me feel before I depart. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2009/1/15/39555.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/15/2009 10:01:12 AM
Body: The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically.  It’s something I very proud of.  Maybe the first film on Vision 1 since the eighties. In part, I wanted to make The Vicious Kind because I’ve long been a fan of the transgressive qualities in John Cassavetes’ films, and I wanted to make a film that felt somewhat reckless.  I liked the idea of a story and characters that didn’t necessarily fall under the “indiewood” category, and didn’t pull any punches.  Similar to Cassavetes’ approach in “Faces,” I wanted to make a film that would provide a setting where my lead actors could run a bit wild. I like to sell The Vicious Kind as The Squid & The Whale meets In the Company of Men. What that description doesn’t tell you is that the film is a redemption tale in which the lead, Caleb, played by Adam Scott, is a recluse and somewhat of a misanthrope.  Anyone who’s seen Step Brothers knows Adam can play “the asshole you love to hate” perfectly.   I think for people that see my film they’re going to discover Adam is an phenomenally sophisticated actor who can texture a performance in such a way that he’s menacing and perverse, and at the same time vulnerable and endearing. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I’ve been lucky to not have too many “real jobs”.  I interned a lot during film school at various production companies.  I spent my time there reading scripts and answering phones, but I was terrible because I was constantly trying to either work on my own material or stealing production books in an effort to educate myself.  I’ve also spent time creating original content for MySpace.  Low points included doing shows on both the Hilton and Kardashian sisters.  Those were days where you go home and try to figure out how to apply to law school. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I’ve never been to Sundance, and, based on impressions I’ve been given, I’m most looking forward to freezing my ass off as I try to get into screenings/dinners/parties (even my own) and totally striking out.  Then, just as I’m about to give up, Paris Hilton strolls by (through the snow) in a skirt and five-inch stilettos and walks right in without any credentials whatsoever.  At which point I can tell whoever is next to me, “I didn’t need to leave LA to watch Paris Hilton pass the line I’m standing in.” Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is a brutal question.  The two that come to mind now would be Jules et Jim and then Rushmore—in that order.  Both films are romantic in their own quirky way, and they both make me feel wonderful.  I like the idea of feeling the way those films make me feel before I depart. Originally posted on:SpoutBlog
]]>Thu, 15 Jan 2009 15:01:12 GMTSpoutBlogSpoutBlog on spout.com1/15/2009 10:01:12 AM The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically.  It’s something I very proud of.  Maybe the first film on Vision 1 since the eighties. In part, I wanted to make The Vicious Kind because I’ve long been a fan of the transgressive qualities in John Cassavetes’ films, and I wanted to make a film that felt somewhat reckless.  I liked the idea of a story and characters that didn’t necessarily fall under the “indiewood” category, and didn’t pull any punches.  Similar to Cassavetes’ approach in “Faces,” I wanted to make a film that would provide a setting where my lead actors could run a bit wild. I like to sell The Vicious Kind as The Squid & The Whale meets In the Company of Men. What that description doesn’t tell you is that the film is a redemption tale in which the lead, Caleb, played by Adam Scott, is a recluse and somewhat of a misanthrope.  Anyone who’s seen Step Brothers knows Adam can play “the asshole you love to hate” perfectly.   I think for people that see my film they’re going to discover Adam is an phenomenally sophisticated actor who can texture a performance in such a way that he’s menacing and perverse, and at the same time vulnerable and endearing. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I’ve been lucky to not have too many “real jobs”.  I interned a lot during film school at various production companies.  I spent my time there reading scripts and answering phones, but I was terrible because I was constantly trying to either work on my own material or stealing production books in an effort to educate myself.  I’ve also spent time creating original content for MySpace.  Low points included doing shows on both the Hilton and Kardashian sisters.  Those were days where you go home and try to figure out how to apply to law school. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I’ve never been to Sundance, and, based on impressions I’ve been given, I’m most looking forward to freezing my ass off as I try to get into screenings/dinners/parties (even my own) and totally striking out.  Then, just as I’m about to give up, Paris Hilton strolls by (through the snow) in a skirt and five-inch stilettos and walks right in without any credentials whatsoever.  At which point I can tell whoever is next to me, “I didn’t need to leave LA to watch Paris Hilton pass the line I’m standing in.” Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is a brutal question.  The two that come to mind now would be Jules et Jim and then Rushmore—in that order.  Both films are romantic in their own quirky way, and they both make me feel wonderful.  I like the idea of feeling the way those films make me feel before I depart. Originally posted on:SpoutBlog http://www.spout.com/blogs/christhilk/archive/2008/12/30/38971.aspx Post By: ChrisThilk
Post To: ChrisThilk Blog
Post Date: 12/30/2008 7:01:31 PM
Body: Step Brothers is probably the out-and-out raunchiest of the movies made by Will Ferrell and director/co-writer Adam McKay. Where their previous collaborations like Anchorman and Talledega Nights had their moments, they were more about gleaning the comedy from a collection of characters more than trying to get a laugh from, say, Ferrell rubbing his testicles on John C. Reilly’s drumset (and no, that’s not a metaphor - it’s a set of drums). But Step Brothers is extremely funny if you go along for the ride. All of the sequences seen in the trailers play out even better when surrounded by the supporting material. Watching Ferrell hit Reilly in the face with a shovel and then try to bury him alive, for instance, was all over the marketing but actually works better in the film itself. The thing that makes it funnier than it probably should be is that the actors are so committed to their characters. That’s the same secret ingredient that makes Anchorman and the other films work so well and it’s in good supply here.        Originally posted on:Chris Thilk
]]>Wed, 31 Dec 2008 00:01:31 GMTChrisThilkChrisThilk Blog12/30/2008 7:01:31 PMStep Brothers is probably the out-and-out raunchiest of the movies made by Will Ferrell and director/co-writer Adam McKay. Where their previous collaborations like Anchorman and Talledega Nights had their moments, they were more about gleaning the comedy from a collection of characters more than trying to get a laugh from, say, Ferrell rubbing his testicles on John C. Reilly’s drumset (and no, that’s not a metaphor - it’s a set of drums). But Step Brothers is extremely funny if you go along for the ride. All of the sequences seen in the trailers play out even better when surrounded by the supporting material. Watching Ferrell hit Reilly in the face with a shovel and then try to bury him alive, for instance, was all over the marketing but actually works better in the film itself. The thing that makes it funnier than it probably should be is that the actors are so committed to their characters. That’s the same secret ingredient that makes Anchorman and the other films work so well and it’s in good supply here.        Originally posted on:Chris Thilk http://www.spout.com/groups/Filmgaming/Re_DVD_Box_Set_Giveaway/563/38625/1/ShowPost.aspx Post By: em14
Post To: Filmgaming
Post Date: 12/19/2008 2:42:08 PM
Body: DVD Box Set Giveaway 1. Pineapple Express -- "I'm against smookin weed but this movie is funny as hell." 2. Tropic Thunder -- "I like Robert Downey Jr. better as a african american." 3. The Dark Knight -- "Good movie, but it was a little to long." 4. Burn After Reading -- "I can't believe george built that chair!" 5. Step Brothers -- "I couldn't stop laughing!"
]]>Fri, 19 Dec 2008 19:42:08 GMTem14Filmgaming12/19/2008 2:42:08 PMDVD Box Set Giveaway 1. Pineapple Express -- "I'm against smookin weed but this movie is funny as hell." 2. Tropic Thunder -- "I like Robert Downey Jr. better as a african american." 3. The Dark Knight -- "Good movie, but it was a little to long." 4. Burn After Reading -- "I can't believe george built that chair!" 5. Step Brothers -- "I couldn't stop laughing!" http://www.spout.com/groups/Coming_Soon/Re_One_good_one_bad_one_maybe_New_movies_week/216/37789/1/ShowPost.aspx Post By: SkyPilot
Post To: Coming Soon
Post Date: 12/1/2008 2:22:25 PM
Body: New DVD Highlights -- 12/2 1. Chronicles of Narnia: Prince Caspian -- Watch trailer. I haven't seen this one, would anyone recommend it? 2. The Mummy: Tomb of the Dragon Emperor -- Watch trailer. I liked the first Mummy, but I was pretty disappointed with Mummy 2. I'm inclined to ignore this one. 3. Speed Racer -- Watch trailer. Eye candy! 4. Step Brothers -- Watch trailer. While not as good as Talladega Nights, the chemistry of Will Ferrell and John C. Reilly makes for some great scenes. 5. Wanted -- Watch trailer. Angelina Jolie and James McAvoy were great in this. It was so much fun, I didn't even care that it felt derivative of The Matrix. 6. The Longshots -- Watch trailer. Fred Durst (yep, the Limp Bizkit guy) directs this battle-of-the-sexes sports comedy starring Ice Cube and Keke Palmer. 7. Meet Dave -- Watch trailer. The one with all the little Eddie Murphy astronauts inside the Eddie Murphy spaceship.
]]>Mon, 01 Dec 2008 19:22:25 GMTSkyPilotComing Soon12/1/2008 2:22:25 PMNew DVD Highlights -- 12/2 1. Chronicles of Narnia: Prince Caspian -- Watch trailer. I haven't seen this one, would anyone recommend it? 2. The Mummy: Tomb of the Dragon Emperor -- Watch trailer. I liked the first Mummy, but I was pretty disappointed with Mummy 2. I'm inclined to ignore this one. 3. Speed Racer -- Watch trailer. Eye candy! 4. Step Brothers -- Watch trailer. While not as good as Talladega Nights, the chemistry of Will Ferrell and John C. Reilly makes for some great scenes. 5. Wanted -- Watch trailer. Angelina Jolie and James McAvoy were great in this. It was so much fun, I didn't even care that it felt derivative of The Matrix. 6. The Longshots -- Watch trailer. Fred Durst (yep, the Limp Bizkit guy) directs this battle-of-the-sexes sports comedy starring Ice Cube and Keke Palmer. 7. Meet Dave -- Watch trailer. The one with all the little Eddie Murphy astronauts inside the Eddie Murphy spaceship. http://www.spout.com/blogs/spoutblog/archive/2008/11/5/37003.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/5/2008 5:00:44 PM
Body: When it was announced that David Wain would be directing Role Models — taking over from The Girl Next Door’s Luke Greenfield — there was room for disappointment. After all, for Wain to follow up his anarchic cult favorites Wet Hot American Summer and The Ten with a seemingly mainstream man-child comedy — one more suited to the talents of Todd Phillips or, well, Greenfield — was to crush his fans’ hopes for something more along the lines of his wacky web series, such as Wainy Days and Stella, or the old MTV sketch comedy show, The State. But Role Models does look funny, probably because Wain ended up rewriting (with Paul Rudd and Ken Marino) Timothy Dowling’s original script. And it’s not as if Wain has suddenly gone and sold out with a bunch of really broad family films, as did his former State mates Thomas Lennon and Ben Garant, the screenwriting duo behind The Pacifier, Night at the Museum and Taxi. Still, many of us are holding out for that rumored State movie, or even better, a big screen adaptation of any of the following State sketches: Louie (aka the “I wanna dip my balls in it” guy) The ensemble behind The State was never interested in recurring characters, but MTV supposedly pressured the show to be more like SNL, and so the ironic “Louie” was born. As little more than a joke on recurring characters and their catch-phrases, “Louie” may not seem the best character to mine for a feature-length movie. But considering Wain and the others were likely just as against sketches spinning off into movies as they were against recurring characters, it would be suitable for such a film, something to lampoon the Lorne Michaels tradition, if that’s at all possible. And I can already see the ad campaigns: posters with just a release date and the words “Dip Your Balls In It.” Lincoln Logs: The Unauthorized Biography of Honest Abe After the release of Oliver Stone’s W., something like this deserves to be made into a movie. Maybe Stone could even direct it from a script by some of the State writers. It could complete his evil Republican president trilogy. And if they act quick enough, it would be awesome if the movie could go up against Steven Spielberg’s Lincoln. The Bearded Men of Space Station 11 This skit really stretches a single joke really thin (like many State sketches), but the simple premise — a space station crew is illogically incarcerated for growing beards in space — could be a mere jumping ground for an hilarious sci-fi comedy. Sure, the genre has hardly been successful outside of Spaceballs and Galaxy Quest, but if anyone can give us another great parodic outer space movie, it’s Wain and friends. Think of Hitchcock’s wrong man scenario, multiply it times five, and throw in a lot of silly shenanigans. Porcupine Racetrack This simple cross between Guys and Dolls, Cats and the “Ascot Gavotte” scene from My Fair Lady is so, so stupid, yet so, so brilliant. And a feature-length version would be as surprisingly beloved as the skit was, especially if there’s some way of also slipping in some reference to the “Gang Fight” skit (that was the “Beat It” video meets West Side Story segment involving an Amish street gang), the “Super Robby” skit (turns out the orphanage that needs saving is cruelly convincing kids they can fly out windows) and the “Mind Match” skit (the orphans are ultimately given away as prizes on a game show). If anything, a silly song penned by Teddy Shapiro would have to receive an Oscar nomination, thereby elevating the Hollywood cred of the State ensemble enough for potentially more ridiculous films. The Inbred Brothers I’ve come to realize that most of these movie ideas come from skits likely conceived by Lennon and Garant. This only furthers the point that the pair NEEDS to work on something State-related before putting on the blindfold and writing Night at the Museum 3. And there’s really no better project than a movie based on their Inbred Brothers characters, Emmett and Lyle. Think of Step Brothers with an even dumber duo. How could this not be a success? The merchandising alone is worthy: t-shirts that say “Whaddamydoin?”; talking dolls that also hit themselves in the head with sticks; Halloween costumes (I actually was a non-specific “Inbred Brother” for Halloween back in the ’90s). To make the dream complete, though, Michael Ian Black has to appear as the French exchange student. Originally posted on:SpoutBlog
]]>Wed, 05 Nov 2008 22:00:44 GMTSpoutBlogSpoutBlog on spout.com11/5/2008 5:00:44 PMWhen it was announced that David Wain would be directing Role Models — taking over from The Girl Next Door’s Luke Greenfield — there was room for disappointment. After all, for Wain to follow up his anarchic cult favorites Wet Hot American Summer and The Ten with a seemingly mainstream man-child comedy — one more suited to the talents of Todd Phillips or, well, Greenfield — was to crush his fans’ hopes for something more along the lines of his wacky web series, such as Wainy Days and Stella, or the old MTV sketch comedy show, The State. But Role Models does look funny, probably because Wain ended up rewriting (with Paul Rudd and Ken Marino) Timothy Dowling’s original script. And it’s not as if Wain has suddenly gone and sold out with a bunch of really broad family films, as did his former State mates Thomas Lennon and Ben Garant, the screenwriting duo behind The Pacifier, Night at the Museum and Taxi. Still, many of us are holding out for that rumored State movie, or even better, a big screen adaptation of any of the following State sketches: Louie (aka the “I wanna dip my balls in it” guy) The ensemble behind The State was never interested in recurring characters, but MTV supposedly pressured the show to be more like SNL, and so the ironic “Louie” was born. As little more than a joke on recurring characters and their catch-phrases, “Louie” may not seem the best character to mine for a feature-length movie. But considering Wain and the others were likely just as against sketches spinning off into movies as they were against recurring characters, it would be suitable for such a film, something to lampoon the Lorne Michaels tradition, if that’s at all possible. And I can already see the ad campaigns: posters with just a release date and the words “Dip Your Balls In It.” Lincoln Logs: The Unauthorized Biography of Honest Abe After the release of Oliver Stone’s W., something like this deserves to be made into a movie. Maybe Stone could even direct it from a script by some of the State writers. It could complete his evil Republican president trilogy. And if they act quick enough, it would be awesome if the movie could go up against Steven Spielberg’s Lincoln. The Bearded Men of Space Station 11 This skit really stretches a single joke really thin (like many State sketches), but the simple premise — a space station crew is illogically incarcerated for growing beards in space — could be a mere jumping ground for an hilarious sci-fi comedy. Sure, the genre has hardly been successful outside of Spaceballs and Galaxy Quest, but if anyone can give us another great parodic outer space movie, it’s Wain and friends. Think of Hitchcock’s wrong man scenario, multiply it times five, and throw in a lot of silly shenanigans. Porcupine Racetrack This simple cross between Guys and Dolls, Cats and the “Ascot Gavotte” scene from My Fair Lady is so, so stupid, yet so, so brilliant. And a feature-length version would be as surprisingly beloved as the skit was, especially if there’s some way of also slipping in some reference to the “Gang Fight” skit (that was the “Beat It” video meets West Side Story segment involving an Amish street gang), the “Super Robby” skit (turns out the orphanage that needs saving is cruelly convincing kids they can fly out windows) and the “Mind Match” skit (the orphans are ultimately given away as prizes on a game show). If anything, a silly song penned by Teddy Shapiro would have to receive an Oscar nomination, thereby elevating the Hollywood cred of the State ensemble enough for potentially more ridiculous films. The Inbred Brothers I’ve come to realize that most of these movie ideas come from skits likely conceived by Lennon and Garant. This only furthers the point that the pair NEEDS to work on something State-related before putting on the blindfold and writing Night at the Museum 3. And there’s really no better project than a movie based on their Inbred Brothers characters, Emmett and Lyle. Think of Step Brothers with an even dumber duo. How could this not be a success? The merchandising alone is worthy: t-shirts that say “Whaddamydoin?”; talking dolls that also hit themselves in the head with sticks; Halloween costumes (I actually was a non-specific “Inbred Brother” for Halloween back in the ’90s). To make the dream complete, though, Michael Ian Black has to appear as the French exchange student. Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/8/20/34162.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 8/20/2008 9:01:39 AM
Body: Everyone’s talking today about how, while no one was looking, Step Brothers has somehow made almost $100 million. All this, in spite of middling reviews and an almost complete lack of buzz. And granted, this might have been a real surprise in a different year, but if you take a look at 2008’s overall box office numbers, you see a lot of films that were written off after disappointing first weekends and/or otherwise for some reason have not been touted as “hits”, but which have nonetheless very quietly grossed either just under or just over a million dollars. The most notable example of this is probably What Happens in Vegas, which has made $80 million in just over three months. Its release never went wider than 3,000 screens, and it never hit number 1, but if you factor in international box office, it’s grossed $200 million––or, about six times its reported production budget. Why is no one is talking about this film, or what it means for the careers of Cameron Diaz or Ashton Kutcher,  while 27 Dresses’ $76 million domestic gross, on a very similar budget, is pretty widely considered confirmation that Katherine Heigl has risen to the  very selective stratosphere of actresses who can open a movie? Because this kind of cost:performance ratio is exactly what’s expected of A- list stars like Diaz and Will Ferrell. No one’s giving cred to Brothers or Vegas for slowly scraping together $100 million because that exactly what medium-budget star vehicles need to do in order to keep said stars employed. No wonder the Warner Independents of the world are shitting down: when star-fueled, lowest common denominator “sleepers” make money with relatively very little maintenance, why would anyone waste time and money producing or acquiring “indies” that need constant coddling? Sleepers are no longer “surprises”––they’re the foundation of the system. Originally posted on:SpoutBlog » Karina Longworth
]]>Wed, 20 Aug 2008 13:01:39 GMTKarinaKarina on SpoutBlog8/20/2008 9:01:39 AMEveryone’s talking today about how, while no one was looking, Step Brothers has somehow made almost $100 million. All this, in spite of middling reviews and an almost complete lack of buzz. And granted, this might have been a real surprise in a different year, but if you take a look at 2008’s overall box office numbers, you see a lot of films that were written off after disappointing first weekends and/or otherwise for some reason have not been touted as “hits”, but which have nonetheless very quietly grossed either just under or just over a million dollars. The most notable example of this is probably What Happens in Vegas, which has made $80 million in just over three months. Its release never went wider than 3,000 screens, and it never hit number 1, but if you factor in international box office, it’s grossed $200 million––or, about six times its reported production budget. Why is no one is talking about this film, or what it means for the careers of Cameron Diaz or Ashton Kutcher,  while 27 Dresses’ $76 million domestic gross, on a very similar budget, is pretty widely considered confirmation that Katherine Heigl has risen to the  very selective stratosphere of actresses who can open a movie? Because this kind of cost:performance ratio is exactly what’s expected of A- list stars like Diaz and Will Ferrell. No one’s giving cred to Brothers or Vegas for slowly scraping together $100 million because that exactly what medium-budget star vehicles need to do in order to keep said stars employed. No wonder the Warner Independents of the world are shitting down: when star-fueled, lowest common denominator “sleepers” make money with relatively very little maintenance, why would anyone waste time and money producing or acquiring “indies” that need constant coddling? Sleepers are no longer “surprises”––they’re the foundation of the system. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/8/20/34148.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/20/2008 9:01:02 AM
Body: Everyone’s talking today about how, while no one was looking, Step Brothers has somehow made almost $100 million. All this, in spite of middling reviews and an almost complete lack of buzz. And granted, this might have been a real surprise in a different year, but if you take a look at 2008’s overall box office numbers, you see a lot of films that were written off after disappointing first weekends and/or otherwise for some reason have not been touted as “hits”, but which have nonetheless very quietly grossed either just under or just over a million dollars. The most notable example of this is probably What Happens in Vegas, which has made $80 million in just over three months. Its release never went wider than 3,000 screens, and it never hit number 1, but if you factor in international box office, it’s grossed $200 million––or, about six times its reported production budget. Why is no one is talking about this film, or what it means for the careers of Cameron Diaz or Ashton Kutcher,  while 27 Dresses’ $76 million domestic gross, on a very similar budget, is pretty widely considered confirmation that Katherine Heigl has risen to the  very selective stratosphere of actresses who can open a movie? Because this kind of cost:performance ratio is exactly what’s expected of A- list stars like Diaz and Will Ferrell. No one’s giving cred to Brothers or Vegas for slowly scraping together $100 million because that exactly what medium-budget star vehicles need to do in order to keep said stars employed. No wonder the Warner Independents of the world are shitting down: when star-fueled, lowest common denominator “sleepers” make money with relatively very little maintenance, why would anyone waste time and money producing or acquiring “indies” that need constant coddling? Sleepers are no longer “surprises”––they’re the foundation of the system. Originally posted on:SpoutBlog
]]>Wed, 20 Aug 2008 13:01:02 GMTSpoutBlogSpoutBlog on spout.com8/20/2008 9:01:02 AMEveryone’s talking today about how, while no one was looking, Step Brothers has somehow made almost $100 million. All this, in spite of middling reviews and an almost complete lack of buzz. And granted, this might have been a real surprise in a different year, but if you take a look at 2008’s overall box office numbers, you see a lot of films that were written off after disappointing first weekends and/or otherwise for some reason have not been touted as “hits”, but which have nonetheless very quietly grossed either just under or just over a million dollars. The most notable example of this is probably What Happens in Vegas, which has made $80 million in just over three months. Its release never went wider than 3,000 screens, and it never hit number 1, but if you factor in international box office, it’s grossed $200 million––or, about six times its reported production budget. Why is no one is talking about this film, or what it means for the careers of Cameron Diaz or Ashton Kutcher,  while 27 Dresses’ $76 million domestic gross, on a very similar budget, is pretty widely considered confirmation that Katherine Heigl has risen to the  very selective stratosphere of actresses who can open a movie? Because this kind of cost:performance ratio is exactly what’s expected of A- list stars like Diaz and Will Ferrell. No one’s giving cred to Brothers or Vegas for slowly scraping together $100 million because that exactly what medium-budget star vehicles need to do in order to keep said stars employed. No wonder the Warner Independents of the world are shitting down: when star-fueled, lowest common denominator “sleepers” make money with relatively very little maintenance, why would anyone waste time and money producing or acquiring “indies” that need constant coddling? Sleepers are no longer “surprises”––they’re the foundation of the system. Originally posted on:SpoutBlog 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/members/0/tags/comedy/MemberTagFilms.aspxcomedy
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