Posts Tagged ‘comedy film’

Brigsby Bear – Make Something Cool With Your Friends!

Posted 26 Aug 2017 — by Ezra Stead
Category Film Reviews, Movies I Got

By Ezra Stead 

Brigsby Bear, USA, 2017

Directed by Dave McCary

Though Dogtooth certainly has its dark sense of humor, one wouldn’t expect a movie about an abducted child raised in an isolated, hermetically sealed world based on lies to be a comedy. This type of premise has yielded great results as emotionally devastating drama, as in the rightfully acclaimed Room, or intense psychological suspense, as in the by-and-large underrated 10 Cloverfield Lane (not about a child abduction, but dealing with similar ideas in terms of the nature of the protagonist’s captivity). Despite these and some other obvious comparison points, though, veteran Saturday Night Live director Dave McCary’s feature debut, Brigsby Bear, is a wonderfully original, sincere, and idiosyncratic movie that manages to not only earn cruelty-free laughs from an inherently unsettling subject, but also to make a larger point about the very nature of art and entertainment, without being annoyingly meta about it.  Read More

The Little Hours – Quirky Isn’t Necessarily Funny

Posted 14 Jul 2017 — by Ezra Stead
Category Film Reviews, Movies I Didn't Get

By Ezra Stead 

The Little Hours, Canada / USA, 2017

Written and Directed by Jeff Baena

Comedy and horror are the two most difficult genres to successfully pull off, because what makes us laugh—just like what scares us—is highly subjective. Even nearly universally acclaimed works in either genre will inevitably have their detractors, as some [backwards-thinking idiots] might not think last year’s The VVitch is scary, while other [no-fun jerks] might not find Anchorman funny, for example. I myself have been informed by numerous people that they find the sketch show Portlandia “hilarious,” though, having personally witnessed the entire first season, I don’t see how this can possibly be true.

Based on the reactions of the admittedly small crowd with me at a recent screening of The Little Hours, this is apparently a pretty funny movie, though I honestly felt like most of the laughter I heard was somewhat forced, as if the other moviegoers were just going through the expected motions when they could tell a joke had just been attempted onscreen, flat as it might have fallen. Maybe it was the only way they could feel as if they’d gotten their money’s worth; I don’t know. I never laughed once, and it pains me to say that because there are a number of gifted comedic talents involved.  Read More

The Sandlot – What Was The Greatest Summer Of Your Life?

Posted 06 Jul 2017 — by contributor
Category Film Reviews, Member Movie Reviews, Movies I Got

By Mike Shaeffer 

The Sandlot, USA, 1993

Directed by David Mickey Evans

Filmed in Utah, the 1993 coming-of-age film The Sandlot wonderfully captures the summer of 1962 through the eyes of nine middle-school boys, and—in what was certainly a case of life imitating art—this cast of unknowns would later admit that the summer they spent filming this cinematic gem was, indeed, their favorite summer. Just like Simon Birch—another film involving an ill-fated baseball—this story opens with the voice of an adult narrator recalling one of the more memorable chapters from his youth. A good sports drama involves conflict, and the main pickle in this adventure stems from a stepfather’s prized baseball being knocked over the fence of the neighborhood sandlot that plays host to a summer-long baseball game. Normally, a 95-cent baseball would just be replaced, but this ball was autographed by the Sultan of Swat, Babe Ruth, and the neighboring yard is patrolled by a drooling monster of a dog known to the boys as “The Beast.”  Read More

Baby’s Day Out – A Scathing Indictment Of A Pre-Apocalyptic Society

Posted 19 Jun 2017 — by Ezra Stead
Category Essay, Film Reviews, Movies I Got

By Ezra Stead 

Baby’s Day Out, USA, 1994

Directed by Patrick Read Johnson

As anyone who’s read my in-depth review of Beethoven knows, family movies from the 1990s are often covert founts of darkness and despair, sometimes to the point that it’s nigh impossible to see them any other way. Another great example of this curious phenomenon is 1994’s Baby’s Day Out, which depicts a world on the brink of total destruction just underneath its deceptively cheerful surface. This is a world that no longer values anything but material possessions, social status, and unbridled hatred. If allowed to go on the way it is, this society will surely collapse on itself, as childcare, familial connections, and basic human decency are utterly neglected. Baby’s Day Out is the tale of the one super-genius infant who just might be able to save a world full of nihilistic idiots from itself.  Read More

Vore King – A Man And His Monsters

Posted 23 May 2017 — by Ezra Stead
Category Film Reviews, Movies I Got

By Ezra Stead 

Vore King, USA, 2016

Directed by Daniel Schneidkraut

Let’s get your first question out of the way now: “vore” is short for “vorarephilia,” a fetish involving a desire to be consumed by—or to be the one consuming—another person or creature. Yes, it is a sex thing, and yes, as per Rule 34, there is pornography for this fetish. Daniel Schneidkraut’s latest feature is a documentary about Raymond P. Whalen, sometimes known as Rock & Roll Ray (full disclosure: both the director and his subject are friends of this reviewer), who holds claim to the title of the most successful purveyor of vore porn.

Still with us? Good.

Of course, no one is actually eaten or otherwise harmed in Whalen’s vore videos. Instead, they are bizarre playacting sessions in which Whalen, dressed as one of various foam rubber monsters he designs and creates (with affectionate nicknames like Bumper Humper and Kitty Gulp), admires and then engages in simulated intercourse with a nude model, before ultimately “devouring” her. The sex is no more real than the cannibalism, and this is part of what makes a documentary that is (at least sort of) about pornography so unexpectedly charming.  Read More

Ezra’s Top 10 Favorite Movies of 2016

Posted 22 Feb 2017 — by Ezra Stead
Category Essay, Film Reviews, Movies I Didn't Get, Movies I Got

By Ezra Stead 

Well, here we are again, folks! Every year since 2001, I’ve made it my self-imposed obligation to see at least 100 new movies (104 in 2016) and then attempt to rank my ten (or more) favorite ones against one another. Notice I didn’t say these were the “best” movies of the year, but my favorite ones; the distinction is important, lest anyone mistakenly expect a shred of objectivity herein.

Anyway, this year, in the interest of championing underdogs and holding a light to some movies you might not have been constantly hearing about since November or so, I have decided to exclude any of the Academy’s Best Picture nominees from my top ten. If you want to know how I felt about those films, you can find my favorites, unranked, in the Honorable Mentions just below the main list, and if you want to know more than that, there’s always the annual MoviesIDidntGet.com Oscars Podcast, which you can listen to on this very site, very soon.  Read More

Ezra’s Top 10 Favorite Movies Of 2015

Posted 27 Feb 2016 — by Ezra Stead
Category Animation, Essay, Film Reviews, Movies I Didn't Get, Movies I Got

By Ezra Stead 

This is always a difficult thing to do, and this year, just like every other year, I left out plenty of movies I really like, even from the Honorable Mentions. This is a particularly interesting year in that I actually really like all the Oscar nominees that I’ve seen, which is relatively rare for me. Anyway, of the 107 new movies from 2015 I managed to see in time for this list, these are my (completely subjective) favorites.

Mad Max: Fury Road is a movie in the glorious pulp tradition of Robert E. Howard and Heavy Metal magazine, but it never feels derivative, even of its own source material1. MAD MAX: FURY ROAD – it’s always a treat to have really high expectations for a movie and then to see them exceeded. George Miller’s return to the wasteland of his career-defining trilogy is a perfect example of this phenomenon. The first time I saw it, though, Fury Road appeared to only meet my expectations, a rare enough feat in its own right. It was the second viewing that made me realize that this was not only my favorite movie of the year, but also my favorite Mad Max movie, and quite possibly my favorite movie of the last two decades. Then I saw it three more times in the space of about two weeks, and I noticed something new about it every single time. The rich, detailed world-building not only rewards but demands multiple viewings, and it’s a testament to Miller’s craft that the movie doesn’t rely on a lot of expository dialogue and other hand-holding devices to make sure the audience can keep up. Max Rockatansky’s world of “fire and blood” has its own language that is every bit as evocative and original as its eye-popping visuals: War Boys, Blood Bags, Bullet Farms, etc. This is a movie in the glorious pulp tradition of Robert E. Howard and Heavy Metal magazine, but it never feels derivative, even of its own source material (The Road Warrior being the original Mad Max movie it most closely resembles). What seems to be overlooked in all the talk about its incredible visual effects and stuntwork (which makes a better case than any movie I can think of for an Oscar category devoted to the people who risk their lives to make movies awesome) is the quality of the writing and performances. Charlize Theron and Nicholas Hoult are especially great, but there is also a surprising tenderness and depth to Tom Hardy’s performance as Max, a man of few words and great stoicism, and Melissa Jaffer managed to break my heart with just a few minutes of screen time as the Keeper of the Seeds. Critics and skeptics say this movie is just one long chase scene, which is reductive, but even if that were strictly true, complaining about that misses the point of how amazing it is that a movie this compelling could be made from a single long chase. Others might say it doesn’t belong in the Best Picture Oscar race because it’s not serious and important enough, but its themes of feminism and environmentalism are extremely relevant; they’re just not belabored to the point of didacticism. Fury Road’s vision of the destruction of the Old World, in which water was plentiful and “everyone had a show,” seems all too plausible, despite its over-the-top visual antics, and there’s a funny/scary comparison to be made between the film’s main villain, Immortan Joe, and a certain current Presidential candidate. I have no doubt this movie will ride eternal in Valhalla, shiny and chrome. It is perfect in every way.  Read More