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  • Is parody on life support?

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    Under discussion:

    Airplane!  (1980)

    Blazing Saddles  (1974)

    Hot Shots!  (1991)

    Silent Movie  (1976)

    Top Secret!  (1984)

    The Naked Gun  (1988)

    Transformers  (2007)

    Date Movie  (2006)

    Superhero Movie  (2008)

    Borat  (2006)

    Epic Movie  (2007)

    Rambo  (2008)

    Cinematic parody as it once was is dead. And after much searching and researching, I have found the murderer of this under-appreciated sub-genre of filmmaking.

     

    It’s Waldo.

     

    Oh sure, the bespectacled, striped-ski-cap-sporting little geek likes to appear anonymous, but I am positive he is to blame for the current slate of “Movie” movies: “Epic Movie,” ”Date Movie” and, most recently, “Superhero Movie.”

     

    If he’s not guilty, ask yourself this, why is he always hiding?

     You see, it is my assertion that the latest generation of filmgoers was weaned on Waldo in their youths. At an early age, they were trained to snoop and search page after page for the skinny little dweeb, and they approach these films much the same way. “Hey, there’s Borat!” “Oh, that’s a reference to ‘Pirates of the Caribbean.’” They do not concern themselves with narrative, character development, plot, rationality, common sense or any other law, be it cinematic or logic. Just throw in a quick bodily function gag or a hip-hop reference and they are pacified.This sad state rests solely on the scrawny shoulders of that elusive little nerd who populates the books of their youth. “Oh, there’s Waldo in Paris!” “Hey, isn’t that Waldo in Tiananmen Square?” The page is simply turned and the search begins anew. 

    The decline

    It’s easy to vilify Jason Friedberg, Aaron Seltzer (the comedically bankrupt  parents of such lowest-common-denominator fare as “Date Movie,” “Epic Movie” and “Meet the Spartans”) , or one of the 8,000 writers of the original “Scary Movie”  (7, 629 of which were Wayans siblings).. But they are merely feeding the audience what it apparently wants.

    How else can you explain the fact that an intelligent (if flawed) stab at actual parody, “Walk Hard: The Dewey Cox Story,” which actually harkened back to the days of “Airplane!” and “Naked Gun,” blinked in and out of theaters while the bottom-feeding “Spartans” landed atop the box office, making in its opening weekend almost what “Cox” earned in its entire theatrical run?

     

     “Cox” took the route traveled by the founding fathers of parody (that would be both Mel Brooks and the creative team of Jerry  Zucker, Jim Abraham and David Zucker – collectively known as ZAZ), which meant building an original character based on a cinematic archetype and structuring a cohesive plot that had purpose. Conversely, “Spartans” merely planted actors who not only resembled their previous on-screen doppelgangers, but sometimes merely kept their original names in case it was too difficult for the audience to get it. Then plopped them in nearly identical settings and allowed someone to break wind, vomit, belch or breakdance (or any combination thereof).

     

    Now, apparently, mere imitation is the new parody.

     Storylines are cobbled with the only motive of tying the countless references crammed inside (“Spartans” mocks not only films like “300,” “Rambo,” and “Transformers,” but also makes room for television shows such as “American Idol,” “Heroes” and “Ugly Betty,” video games, commercials and even the MTV Music Video Awards). It’s the cinematic equivalent to sitting on the couch with someone who cannot stop flipping channels with the remote. 

    The legacy

    Done properly, the parody film can enrich a generation with its writing. “Surely you can’t be serious?” you say. And any movie-lover worth his or her salt should be able to adequately answer that question.Take a look at some of these iconic statements made in parody films throughout the ages:

    ·         “Badges? We don't need no stinking badges!” (Blazing Saddles, 1974)

    ·         “Wait, Master. It may be dangerous. You go first!” (Young Frankenstein. 1974)

    ·         “Go away or I shall taunt you a second time. Your mother was a hamster and your father smelt of elderberries!” (Monty Python and the Holy Grail, 1975)

    ·                (Silent Movie, 1976)

    ·         “Joey, have you ever been to a Turkish prison?” (Airplane! 1980)

    ·         “I know a little German… He's sitting over there.” (Top Secret!, 1984)

    ·         “Jane, since I've met you I've noticed things that I never knew were there before: birds singing, dew glistening on a newly formed leaf, stoplights” (Naked Gun, 1988)

    ·         “My eyes are ceramic. Caught a bazooka round at Little Big Horn. Or was it Okinawa? The one without the Indians.” (Hot Shots, 1991)   

    The future?

    Has the eulogy been written for the parody, an archaic artifact left best to the memory, or is there a phoenix-like future for the genre? “Superhero Movie” does not inspire much hope. While it does boast a production credit from “Airplane’s” David Zucker, it was written and directed by Craig Mazin, who, aside from penning the latest two “Scary Movie” installments, has a handful of other minor credits to his name. Really, it does not matter who is behind the lens or the script of such films, as realized by “Dewey Cox,” which was backed by current comic “it-boy” Judd Apatow. No, I think any future hope for the parody film to make a comeback will rest in the homes of those raised on the exploits of Lt. Frank Drebin, Ted Striker, Hedly Lamarr, Dr. Frederick Frankenstein (“that’s Franken-steen!”) and others who not only made us laugh, but made indelible marks in our cinematic psyche. For they now have children of their own who may one day demand a bit more sophistication with their humor and need to no longer help their children find that globe-trotting geek so innocently named Waldo and stop him in his tracks before he kills again.The future of comedy as you once knew may just depend on it.   


  • Just between me and Hughes

    1 out of 1 people found this review helpful. [What do you think?]
    Under discussion:

    Pretty in Pink  (1986)

    Sixteen Candles  (1984)

    Weird Science  (1985)

    Knocked Up  (2007)

    Superbad  (2007)

    Drillbit Taylor  (2008)

    Tropic Thunder  (2008)

    Perhaps it’s a certain soft spot for the navigator of my awkward adolescent journey, John Hughes; maybe it’s the affable charisma of lead Owen Wilson (who, even off his game as he is here, is just someone with whom you want  to share a beer); or it could be the overall throwback tone of the film’s less-ironic, less-cynical high school setting.

    Whatever the reason, I quite enjoyed “Drillbit Taylor.

    Hughes, the arbiter of public school angst, originally scribbled the screenplay for the new comedy and allowed it to languish for the better part of two decades before it was dusted off by reigning comedic king Judd Apatow (“Knocked Up,” “40-Year-Old Virgin”) and his faithful scribes Seth Rogan (“Superbad”) and Kristofer Brown (TVs “Undeclared”).

    Hughes’ name is not found on any of the credits (acknowledgment is given to his frequent nom de plume of Edmond Dantes), but his style can be felt throughout. With great nerd love, Hughes always tapped into the anxieties, hopes, fears, and, dare it be dreamed, love of those squares living outside the popular circles in high school.

    He affected and defined a generation with six films in just four years.

    Think about that number.

     The list of his film could hyperventilate many a Gen-X –er prone to spouting off many a memorable movie line : “Sixteen Candles,” “The Breakfast Club,” “Weird Science,” “Pretty in Pink,” “Ferris Bueller’s Day Off,” and “Some Kind of Wonderful.

    And while “Drillbit Taylor” will not gain access to the coveted coliseum of memorable Hughes characters (Bueller, Duckie, Long Duk Dong, Farmer Ted, Chet, Cameron, etc.), it is a good-natured return to perhaps the most anxiety-prone places of repressed memory, and where some of Hughes’ richest comedies were set – high school.

    Wilson stars as a homeless Iraq vet genially slumming the California streets in search of spare change. Now this is hardly the stuff of comedy gold, and while the subtle social commentary is an awkward fit, Wilson’s laissez-faire demeanor pitches the proper balance between snickers and sympathy.Drillbit notices an online ad from a trio of geeks searching for protection from their psychotic high school harrier.

    The outcasts could easily be renamed “Superbad: The Early Years,” as they consist of the fat, sarcastic one (Tony Gentile), the skinny introspective one (Nate Harley), and the screeching uber-dork (David Dorfman). The actors themselves offer relatively little to the whole affair, but, then again, no one ever praised Andrew McCarthy for his range, Judd Nelson for his Method approach, or Molly Ringwald for her intensity.

    Drillbit sees the young suburbanites as three little ATM machines who can help finance his ticket to Canada to start life anew. He pilfers a few valuable knick-knacks from their homes while haphazardly helping them overcome their daily high school hell. Conscience gets the better of Drillbit, and soon he infiltrates the school as a substitute teacher to further aid the kids’ daily humiliations.

    At this point in the review, you may be thinking: “Hmm, faint praise, hackneyed plot… I think I’ll pass.” But “Taylor” works despite all these things.

    It works in all those “in-between” moments of the film. Throwaway lines delivered by former “Daily Show” correspondent Beth Littleford (someone please give this woman a smart lead role!), comedian Matt Walsh, and Danny McBride (soon to be seen in Apatow’s “Pineapple Express” and Ben Stiller’s “Tropic Thunder”).They, along with the leads, deliver casual, off-the-cuff zingers that validate “Taylor’s” existence,

    When training his young charges, Drillbit casually tosses off such lines as: “Now it isn’t all Oriental martial arts, Sometimes you give a little Mexican judo. As in you don’t know who you messin’ with, homes.” And at its core is an oversized Hugh-sian heart, one that was absent from the flick of Wilson’s frequent co-star Will Ferrell in “Semi-Pro.”

    It’s also an element that is sadly lacking in film designed for the high school crowd, which is more willing to highlight the misanthropic myopia and would-be sexual exploits than exalt in the more inconsequential aspects of freshman life, such as just existing without getting the snot clocked out of you. 

    Perhaps his pen is a wee out of touch with today’s school experience, but his talent for mining the primal emotional dread is spot on.And if he decides to infrequently revisit that world every decade or so, I’ll slap on a pair of parachute pants, load up the Trapper Keeper, slip a cassette of Sigue Sigue Sputnik in the Walkman, and be first in line to watch.


  • I'm all ears!!

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    (With apologies to the Geisel Estate)

    A long time ago, in a faraway land,

    Some greedy Sneeches were hatching a plan.

    “Let’s take a kids’ classic and put it on screen!”

    “We’ll make more money than this town’s ever seen!”

    They crept back to their lair, their idea was a cinch.

    “We’ll make a fortune by adapting ‘The Grinch.’”

    They laughed and they howled, they were evil but merry.

    “All we need to do is sign up Jim Carrey!”

    “It will fall into place, he’s oh-so slap-happy!”

    But when they were through, the film was quite crappy.

    Again they retreated, with their wallets all fat.

    “Let’s do it again, with ‘The Cat in the Hat.’”

    Mike Meyers will do as the lead feline.

    But out of the theaters crowds made a bee-line.

    Folks were onto their ruse, they felt tricked with no treat.

    “If you adapt Seuss again, it better be sweet!”

    So then power shifted onto a new crew.

    Animators would take on “Horton Hears a Who.”

    The delightful tale from the good writer,

    Seemed to be burning just a little bit brighter.

    Gone were plans of costumes and prosthetics,

    Which made previous efforts seem sad and pathetic.

    A CGI wonderland is what “Horton” needed.

    “And please don’t tinker,” the audience pleaded.

    Carrey signed on again to take center stage,

    Which initially caused ire, doubt and outrage.

    But with the advantage of not seeing him mugging,

    The film picked up steam and soon it was chugging.

    Steve Carell joined the cast of talented voices.

    And the directors began to make other fine choices.

    Amy Poehler, Seth Rogan, Jonah Hill, Will Arnett,

    They scored even more points with Carol Burnett.

    Each seemed to care for the roles, one and all.

    Just like Horton said, “No matter how small.”

    No longer confined to the real-world trappings,

    The film’s images all started popping and snapping.

    The original text, writers respected,

    Ideas for backstories of its leads were rejected.

    The jokes seemed funnier, the story seemed tighter.

    The overall tone seemed a teeny bit tighter.

    The film was not without fault, with 90 minutes to fill.

    Writers stuck in some scenes that were hollow and shrill.

    An anime sequence? They must be joking!

    R.E.O. Speedwagon songs? Just what were they smoking?!

    But despite these brief trips into pop-reference places,

    The audience left with big smiles on their faces.

    While the book remains the best source for this text.

    “Horton” fits comfortably at any old multiplex.

    It’s light and it’s bouncy, unlike its pachyderm star.

    It’ll delight most the Whos, who-ever they are.

    It might have been tightened by a clip and a snip.

    (Do we seriously need a Kissinger-voiced quip?)

    The film keeps the heart of the original tome.

    Parents won’t feel guilt to take the DVD home.

    As Horton “meant what he said, and said what he meant,”

    The film is quite faithful… at least 90 percent.

    So unless you’re a Grinch with a stick up your caboose,

    There’s no reason to not love this version of Seuss.


  • 'Confessions' of dangerous minds

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    Under discussion:

    Full disclosure, I was a child model. Nothing major, mind you. My biggest claim to fame was hitting the runway with Shari Lewis and Lambchop, if that gives you any point of reference.

    Once puberty hit, I realized the agency began pushing me into 'costumes.' A Care Bear here (was Surly one of them?), Big Bird there (yet, due to licensing, I was 'Yellow Bird'). After a half-dozen appearances at local toy stores, I realized the gig was not my bailiwick, and that at no time should Darth Vader be made to feel intimidated by a 7-year-old.

    So it ws with more-than-average curiosity that I watched 'Confessions of a Superhero.'

    It is tempting to call these glorified panhandlers 'sad' and 'pathetic,' but I think director Matt Ogens cares a wee bit more for his subjects than to take the obvious route of holding them up for ridicule.

    We witness the range of personalities, from the obsessive (Christopher 'Superman'  Dennis, who claims to be the son of actress Sandy Dennis) to the sweet ( Jennifer 'Wonder Woman' Gehrt) to the dangerous (Maximus 'Batman' Allen), as they meander in front of the Mann's Chinese Theater in Los Angeles, posing for pics then asking for tips.

    Those who get creeped out by costumed characters will no doubt have some fears justified (I have an aunt who is still scared to death of trips to Disney with her child for fear of being approached), as many a suited personality comes across as slightly unhinged.

    But others will be at turns saddened by tales of dreams dashed (sometimes you just want to hug Gerht and Joe 'Incredible Hulk' McQueen) or share in the excitement as some land legit gigs.

    Ogens manages to capture marriage, divorce, arrests, auditions, psychiatrist visits and visits home, fleshing out his stars to be more than just freaks in capes.

    If you are curious as I was, you will jump to imdb to see if any actually landed anything worthwhile after the film, but will be disheartened to find that, aside from McQueen, their resumes are heretofore empty.


  • Deserves 'torture porn' label removed

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    Under discussion:

    Storm Warning  (2007)

    The phrase 'torture porn' has now become an blanketed cliche used by lazy writers who have little creativity to accurately dissect a film on its own merits.

    While this is not masterpiece (and is anyone else sick of things being labeled 'extreme,' like this new division of Dimension?), this Aussie import has its fair share of goosing and terror.

    Yes, the 11th-hour change by one of the protagonists into a female MacGuyver is a stretch, but the atmosphere of fear and dread are palpable in the hour leading up to its climax.

    Bonus points are earned by the lead villans for becoming entrenched in their roles without wallowing in self-parody.

    It follows more closely to the 'Texas Chain Saw Massacre' blueprint than its weak-kneed spawn, such as 'Saw' and 'Hostel.'


  • Stratham's 'Bank' shot

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    Under discussion:

    Cocktail  (1988)

    No Way Out  (1987)

    Species  (1995)

    Snatch  (2000)

    Thirteen Days  (2000)

    Ocean's Eleven  (2001)

    The Transporter  (2002)

    Chaos  (2006)

    Flushed Away  (2006)

    Crank  (2006)

    The Bank Job  (2007)

    War  (2007)

    Jason Statham is not a name that exactly inspires confidence in moveigoers.

    He was director Guy Ritchie’s lapdog for “Lock, Stock and Two Smoking Barrels” and “Snatch,” before boxing himself in to roles that played up his martial-arts prowess, squelching any dramatic potential that nuanced his performances.

    Starring in a string of empty-calorie cinematic Twinkies (“The Transporter” films, “Chaos,” “War” and “Crank” were all designed solely to accentuate his pugnacious proclivities) only kept him out of the direct-to-video purgatory that befell fellow fighters Steven Segal and Jean-Claude Van Damme.

    He’s often dismissed as the British version of Bruce Willis (balding, gruff on-screen demeanor, characters of few words and a cupboard filled with cans of whoop-ass), but he has the potential to bring on more than brawn to his roles.

    His followers may be small, but they are loyal, and he has staked his claim on the late-winter box office, when his films are typically released to mild success.

    The generically titled “The Bank Job,” (what, was “Robbery in London” already taken?) is perhaps the most un-Statham film to star Statham, but it is also the most entertaining film on his resume in quite some time, and provides him the chance to trade deadly dropkicks for dramatic dialogue.

    Even though the title claims it was “Based on Actual Events,” you can easily weed out the facts from the filmic flourishes. Yes, it was the 70s; yes there was a robbery; and yes, an amateur ham radio operator overheard the whole break-in and phoned police. The rest of the tale seems wholly constructed from the mind of screenwriters Dick Clement and Ian La Frenais, two Brits responsible for the wry kiddie flick “Flushed Away.”

    Here, the two toss in storylines ranging from Princess Margaret porn pictures to radical black activists to brothel-frequenting Parliament members. And while most of these subplots seem to be creative liberties thrown in to sex up a mundane tale of rookie robbers, they manage to keep all the threads flowing without getting knotted up in confusion.

    Statham plays Terry Leather (nope, not a typo), a two-bit car salesman whose being pinched by some rather unsavory characters collecting on some old debts. Terry is contacted by former flame Martine Love (played by Saffron Burrows) who “stumbled” upon a score that would alleviate Terry of his financial woes and perhaps get something out of it herself.

    Terry hustles his local barroom brethren for the job and within days they are tunneling their way under the streets to a local bank vault.

    “The Bank Job” may come across as a grittier, scrappier, across-the-pond cousin to the “Ocean’s” series, but what it lacks in expensive duds and mega-watt star-power, it makes up for with its hungry heart.

    Director Roger Donaldson has been somewhat of a journeyman behind the camera, responsible for such stillborn atrocities as the Tom-Cruise-bartending-epic “Cocktail” and the I-was-boinked-by-an-alien fiasco “Species,” but he’s also helmed such superior potboilers as “No Way Out” and nail-gnawing “Thirteen Days.”

    He offers no particular flair here, leaving that to the intricate-but-immanently watchable story of Terry and his mates entering what appears to be a financial honeycomb, but instead stirring up a hornets’ nest of trouble.

    Given the lack of big names, vanilla title and low-key release date, “The Bank Job” will most likely vanish to obscurity from the theaters rather quickly. But it is a film that merits cinematic life support from those who bemoan the lack of breezy, twisty thrillers that used to populate the theaters decades ago.

    “The Bank Job” also provides a broader swath of American audiences the chance to witness the magnetism of Statham, who is poised to wrestle free of the trappings of his bare-knuckle cinematic straightjacket and muscle his way into roles that require more kicks from his dialogue than his nimble feet.


 

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