Tag: Comedy

THE MAN WHO CAME TO DINNER (1941)

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Directed By: William Keighley 

Written By: Julius J. Epstein & Philip G. Epstein

Based On The Stage Play By: George S. Kaufman and Moss Hart

Cinematography: Tony Gaudio

Editor: Jack Killifer 

Cast: Monty Woolley, Ann Sheridan, Bette Davis, Jimmy Durante, Richard Travis, Billie Burke, Reginald Gardiner, Elisabeth Fraser, Grant Mitchell, Mary Wickes 

Sheridan Whiteside, an eccentric and acid-tongued radio lecturer, is disabled on the doorstep of a prominent Ohio family and must remain confined to the unwilling family’s home for a few days. Discovering what he believes to be problems within the household, hatches a plot to fix all of the household’s problems. 

Sherry then proceeds to find out that his leg is fine so he bribes the doctor to declare him unfit to leave for a few weeks so he can meddle with the lives of the members of the household. But has he made a mistake?

While you definitely notice the film’s theater origins as a play by George S. Kaufman and Moss Hart. 

The highlights of the movie are the main character of the movie played by Monty Woolley. Even in a film with two female superstars of the time Anne Sheridan and Bettie Davis. He is the one who is given the most screen time and the best laughs.

Ann Sheridan at least gets chances for her character to join in on the comedy. Bettie Davis plays an important character but barely gets anything to really do. As she is more of a straight woman throughout. 

Woolley’s character is acid-tongued and insults almost everyone around him. He is an intellectual snob who believes he is better than everyone. While it is never particularly said he seems to also be homosexual. The film makes it seem that he is different in taste and class than his wealthy benefactors whose house he slips in front of and is forced to put up with him. While they put him up.

Throughout he causes all sorts of trouble for the family particularly the matriarch and in true selfish fashion. When his assistant played by David falls in love. He tries to sabotage it not because he is in love with his assistant but for her companionship. One could see it as he has been made to feel like an outsider all of his life because of his style, intelligence, and decor. 

So now he is taking it out on everyone who is considered normal and hetero to a degree. As no one is safe from his tongue lashings. Most accept them as they aren’t aware they are being insulted, others who do can only bluster as they know they can’t do anything about it. Those Who try to verbally spar often lose. Even his accomplices tend to switch sides or he turns on them at least once or twice.

He is technically the villain but also the centerpiece and most interesting character that you end up loving to hate him or hate to love him.

It might as well be a one-man show. As Monty Woolley shines in every scene and takes over. Most characters in this movie talk a mile a minute and so does the action and jokes at times. As it is a kind of screwball comedy. He is the main focus even telegenic the film tries to throw some sight gags and physical comedy in the mix it feels like leftover from the fresh and sharp dialogue. So that anytime it leaves him or focuses on another character. It slows down and becomes a bit dull.

The only other person in the film who truly steals scenes is Jimmy Durante and his antics who come into the film in the third act as another accomplice of Woolley’s He gives the film much-needed energy. As Durante on screen is so energetic it’s like he drank 12 lattes before each take. His appearance is a late great surprise. 

Ultimately the film is entertaining and can see why It’s Considered a classic. Though It’s not as strong as one would hope if it wasn’t for the main role. This film would feel rather basic. It might be the direction or presentation overall. 

Grade: B 

THE PERSIAN VERSION (2023)

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Written & Directed By: Maryam Keshavarz

Cinematography: Andre Jager

Editor: Abolfazi Talooni and JoAnne Yarrow

Cast: Layla Mohammadi, Niousha Noor, Kamand Shefieisabet, Bijan Daneshmand, Bella Warda, Tom Byrne, Shevrin Alenabi, Sachli Gholamalizad, Jerry Habibi

When a large Iranian-American family gathers, a family secret is uncovered that catapults the estranged mother and daughter into an exploration of the past, and to discover they are more alike than they know.

This film is a heartwarming tale of family relationships. While overall being a film about relationships.

It’s ultimately a tale of immigrants building themselves up, As well as their families. While seeking independence being able to find a connection.

So, based on a true story, the film has quite an imagination. As it feels like a storybook at times. It’s full of reality, though has a touch of fantasy. When there is even an early scene that breaks down to a musical sequence of introducing family and friends to the Cyndi Lauper song girls just wanna have fun 

The film is so rich you want to hear some more of her many brothers ‘ tales or more stories about the family overall, as it seems, there is some magical realism that is anchored by reality. so much so that this film almost feels like a mystical pilot for a television series.

The film is familiar, and some might feel this film has too much heart or gets lost a bit in sentimentality overshadowing other parts of the story lessons, the tone.

It actually works, it might leave others in the audience, wanting more grit in the dramatic part of the story. That feels overstuffed with tragedy and hardships that are wrapped up a little too nearly. Though this film is all about the heart. after all, it is a story about family and time. 

Not to mention, it already provides tragedy with peaks of drama yet plenty of humor.

Just like the main character, it might define itself one way, but it finds itself in many different ways that go against definitions.

Grade: B 

FALLING FOR FIGARO (2020)

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Directed By: Ben Lewin

Written By: Ben Lewin and Allen Palmer 

Cinematography: Nic Lawson

Editor: Peter Carrodus

Cast: Danielle Macdonald, Hugh Skinner, Joanna Lumley, Gary Lewis, Shazad Latif, Ian Hanmore, Christina Bennington, Vicki Pepperdine

 A brilliant young fund manager leaves her unfulfilling job and long-term boyfriend to chase her lifelong dream of becoming an opera singer in the Scottish Highlands.

There is nothing truly wrong with this film that it’s more of a romance than a comedy with musical flare. As it revolves around the world of amateur opera singing.

This leaves the film or at least the audience a little confused as you’re expecting it to be or at least have a few more quirky characters, and maybe a little more interactive, and confused throughout when it comes to the story.

The way it plays is pretty much cut and dry, and I admire that the film doesn’t make the female leads, original, romantic entrance, and fiancé into any kind of villain, or give him any truly negative traits. As it is, they are growing apart when it comes to interests and thoughts of the future.

The film is simple and cut and dry, but the problem is it just seems to lack a certain charm. Maybe it’s because it’s not as cliche to the audience as other romance films are not trying to convince you to like the characters presenting the characters as they are them or not.

Immediately gets into its story and plot and you already recognize where it’s going and what’s going on so you just sit and watch and see which way it will be delivered it’s cute but it doesn’t send the pulse racing. It doesn’t make you excited it just kind of gives it to you and hopes you like it. It’s like going to a diner versus a restaurant now sometimes a diner can surprise you and give you one of the best meals of your life but sometimes it’s just par for the course giving you exactly what you wanted but no effort to make it special or one of a kind. That is how this film feels.

The one thing you will remember is the lead Danielle McDonald, who has been in quite a few films up until now, and as usual, gives a great and memorable performance in the lead. 

Grade: C 

LISA FRANKENSTEIN (2024)

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Directed by: Zelda Williams 
Written By: Diablo Cody
Cinematography: Paula Huidobro 
Editor: Brad Turner

Cast: Kathryn Newton, Cole Spouse, Liza Soberano, Joey Harris, Carla Gugino, Charlie Talbert, Henry Eikenberry, Bryce Romero, Joey Chrest 

A coming of RAGE love story about a teenager and her crush, who happens to be a corpse. After a set of horrific circumstances bring him back to life, the two embark on a journey to find love, happiness – and a few missing body parts.

The film offers an original vision. That proves itself more than just stylish it actually has depth. So that in itself it is like a teenager or the mentality and mood of one.

It’s as if Tim Burton made a teenage girl film As it fits into his style and type of character, but not as much on a grand scale. Which makes you end up liking it more than I expected to. 

The film feels definitely like an 80s film and when they mentioned later in the film that the year 1989 it fits perfectly wish it had come out at that time though this also works as a kind of nostalgic throwback. While it’s set in suburbia the film also achieves making its own world that seems separate yet so close to our own with a lot more color coding. That calls to mind screenwriter Diablo Cody’s previous film JENNIFER’S BODY 

Very camping at times over the top, but yet has an odd comfort level to it all.It’s a good film for its target audience that actually fits even at times when it can be risky 

As at times it’s Right on the precipice of macabre strangely, it works and has its own innocence. At Times it can feel like a wacky comedy, but also fits in with the Heathers crowd the PG-13, it is a little risque 

even for its more violent and even some sexual scenes, it’s a little bit more suggested and creative in the ways that it presents it that are not exploited, but actually seem more creative at times. This feels like a rather expensive student film, though that is what is part of its charm and luckily written by Diablo Cody, making a comeback 

This is Zelda Williams making her directorial debut, and it feels that way, but it gets stronger and more focused as it goes along 

It’s a love story, at heart where all the feelings seem misdirected towards what you view as your ideal and are blinded to their red flags and the people who actually care about you and love you. You take for granted or fail To see the obvious.

Katheryn Newton is winning as the lead character with all of her issues and psychosis, yet is sweet, crazy, and hilarious.

This is one twisted film in romance whose wavelength works totally fits

GRADE: B 

BLOOD RELATIVES (2022)

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Written & Directed By: Noah Segan

Cinematography: Andrew Baird 

Editor: Patrick Lawrence

Cast: Noah Segan, Victoria Moroles, Akasha Villalobos, C.L. Simpson, Tracie Thomas, Doug Benson, Ammie Masterson, Jones Proudstar, Josh Ruben 

A vampire’s loner lifestyle is thrown into disarray when a teenager shows up claiming to be his daughter, and she’s got the fangs to prove it. On a road trip across America’s blacktops, they decide how to sink their teeth into family life.

This film is more comedy with horror movie or monster movie elements.

As it tries to stay in a certain reality, showing the modern-day problems with being a vampire, and just generally getting older, it also opens up the world for other supernatural mysteries, while dealing with its own central father-daughter storyline.

Dealing with the clips of what might be your own life for being the center of it and having to sacrifice for another.

As the film is built more around the character’s relationship with one another and find little adventures or distractions for them to go on to strengthen their bond and test their limits.

Nice to see Victoria Moroles in another film after she was so memorable in the comedy PLAN B 

Here she is in another comedy, and while not as distinct, she definitely is memorable as she is pretty much like that film star here, With a different look.

This is star, Noah Segen’s feature film, directorial debut and it’s not bad. It’s a cute little film that places character over story, plot, action, or visuals and by the end, it feels like a good time though not necessarily special it does have its own voice.

It’s a film with steaks where not too much happens and feels kind of laid-back. It’s cute to spend some time with though it will certainly not rock your world.

Grade: C+

RUMBLE IN THE BRONX (1995)

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Directed By: Stanley Tong

Written By: Edward Tang and Fibe Ma

Cinematography: Jingle Ma

Editor: Peter Cheung 

Cast: Jackie Chan, Anita Mui, Francoise Yip, Bill Tung, Marc Akerstream, Garvin Cross, Morgan Lam, Alien Sit

A young man visiting and helping his uncle in New York City finds himself forced to fight a street gang and the mob with his martial arts skills.

This is the first movie I saw Jackie Chan starring in. Though I remember him in the CANNONBALL RUN movies. This was another temp for him to break in Hollywood after the previous film mentioned, and THE PROTECTOR with Danny Aiello.

Only this time he had more momentum as Quentin Tarantino had hyped him up and his films after a lifetime achievement award at the MTV awards when they were at the height of cool. Showing clips of all his films and detailing his injuries from doing all his acrobatic stunts.

Had a younger generation mesmerized and salivating over his work. Having him be a well-known foreign secret this was the first released film after.

The trailer showcased more action scenes than the stunts and didn’t include any of the more comedic elements.

The film is pretty run-of-the-mill only here. Most of his enemies are Caucasian.  The film does show him struggling with the English dialogue so still eternally a nice guy and helping out a kid and his older sister, who had first set him up, and provides the film with some eye candy, but not a romantic one.

This has  what is typical in his film’s build-up of him being impressive and early scenes, yet being defeated, then the finale and over-the-top action fighting extravaganza, where he is like Hulk Hogan in his prime beaten now feels no pain in his nonstop as now he is truly angry and fed up

The film feels more like something from the 1980s and Chan is a little too old to be quite believable as the character and his circumstances.

Luckily, this is less comedic and family-friendly than his films would eventually become in America, so this film does retain some edge.

Though the pharmacy supposed to take place in the Bronx is obviously filmed in Canada and is not as exciting as the title.

Grade: C+

POLICE STORY 2 (1988)

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Directed By: Jackie Chan

Written By: Jackie Chan & Edward Tang, Paul E. Clay

Cinematography: Yiu-Tsou Cheung and Yu-Tang Li

Editor: Peter Cheung 

Cast: Jackie Chan, Maggie Cheung, Yuen Chor, Bill Tung, Kwok-Hung Lam, Charlie Cho, Keung-Kuen Lai, John Cheung, Ben Lam, Chi-fai Chan

Despite his success at apprehending criminals, Kevin Chan’s unorthodox approach to his work as a police officer sees him demoted to the traffic branch. Despite this, the man he put behind bars is now out of prison, and has vowed to make his life a misery. While this crime boss is harassing Kevin and his girlfriend, the police are contemplating reinstating Kevin to help them fight a group of bombers attempting to extort $10 million from building owners.

I will admit this film had some big shoes to fill. Unfortunately, it doesn’t quite rise to the challenge.

The film comes off as bigger, and it takes a little longer to get started, which might be why this is a longer movie. The film feels a bit bloated.

The stunts try to be bigger, heavier, and longer with a bigger budget, but in actuality, they feel like there are fewer of them or not a special, not as deifying, except for the final fight in the third act.

The film begins by bringing the audience up to speed with highlights from the first film. As there will be returning characters.

The action takes a while at the beginning between action scenes, though the fight scenes are bigger, to a degree. The film lives off of a building up to them. Unfortunately, they don’t quite measure up. 

Jackie Chan sports a better wardrobe, and this time around gives the returning cast more to do even as his character ultimately feels less comedic and more serious.

Though he still maintains being the center of attention, he lets others do some of the work.

This film at least has more of a story and its crime syndicate tail. Even the more minor moves feel dangerous and impressive at times.

Ultimately, this film feels like a disappointment

Grade: C 

POLICE STORY (1985)

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Directed By: Jackie Chan and Chi-Hwa Chen

Written By: Jackie Chan & Edward Tang

Cinematography: Yiu-Tsou Cheung

Editor: Peter Cheung

Cast: Jackie Chan, Brigette Lin, Maggie Cheung, Yuen Chor, Bill Tung, Chun-Yip Tong, Kwok-Hung Lam, Chi-Wing Lau, Charlie Cho, Hung-You Ham 

Kevin Chan is a Hong Kong cop, who scores his first big hit by virtually single-handedly capturing and arresting a big drug- lord. Of course, the drug lord isn’t too happy about this and frames Kevin with the murder of another cop. Kevin has to clear his name, whilst keeping himself from getting killed or arrested and keeping his girlfriend from leaving him.

One of the joys of watching early Jackie Chan movies is watching him in his element. like classic silent movie, comedians. That is hard to mimic, and all managed to have their own signature style. where his appeal is all about his physicality here he does his own stunts as usual, but also manages to add into that element badass fights.

So he is dangerous, as well as silly instead of as in his leader films, more silly than dangerous. it’s an element missing from his Hollywood American movies, as the action is not as impressive in those it was more about the stunts, as he was still doing them himself, but usually paired with an up star or comedic star for a comedy, and then, even in the fight scenes, not usually working with his team the fights are stuntman looked like in a musical obvious and waiting for their turn in the spotlight and making it look obvious staged, except for THE FOREIGNER that film is totally balls to the wall, it’s not a comedy

The choreography of the fight scenes is so impressive that he even has a moment in this film to work in a moonwalk scene because it was popular at the time

Part of his fandom is the fact of how hard he works, and that he is willing to put his life and body on the line, not only to get the right shot but to entertain his audience. To impress even being a perfectionist on smaller details at times.

What is the reason this film is considered a classic is that it showcases his appeal and comedy and action and a perfect mix. funny, but the sequences and situations are enough to cause worry while being amazed at the stunts and his physical skills, physically. He truly is in control and comes into his own here. (which is why the film has many sequels.)

He has a lot of purely comedic scenes to himself to show off his comedy skills physically will say he is more impressive with a dance partner, so to speak. As when he uses props the film has weapons, but they’re never truly used. Usually, they are only as threats or for use by others by the villains.

The hand-in-hand combat, at least reminds you of classic kung fu movies, only more modern and crime rate and visual comedy.

No, he doesn’t really allow anyone else to shine in this film just join in the festivities as they are needed. 

The film doesn’t offer anything new to add story though I love interest is there the film offers no love story, but pretty distractions. There are the usual cops and criminals and double-crosses.

The car chase scene through a shantytown seems to have inspired an action sequence from Director Michael Bay’s BAD BOYS 2. 

One scene to show off the impression a stunt near the end has him show it three times at different angles, though then it just ends suddenly after beating up the villain.

Believe the hype, check it out as soon as you can

Grade: B+

101 REYKJAVIK (2000)

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Directed by: Baltasar Kormakur 

Written by: Baltasar Kormakur and Hallgrimur Helgason 

Based on the Novel By: Hallgrimur Helgason 

Cinematography: Peter Steuger 

Editor: Skul E. Eriksen and Sigvaldi J. Karason 

Cast: Victoria Abril, Hilmir Snaer Guonason, Hanna Maria Karlsdottir, Baltasar Kormakur, Pruour Vihjalmsdottir, Olafur Dari Olafsson, Prostur Leo Gunnarsson, Eyvindur Erlandsson, Halladora Bjorn Sdottir 

Will the 30-year-old, Hlynur ever move out of his mother’s apartment in Reykjavík? Social welfare keeps him passive but things change when his mother’s Spanish friend, Lola, arrives and stays through Xmas and New Year’s Eve.

Before going off to make more action-oriented Hollywood films. Director Balatasar Kormakur (2 GUNS, BEAST, EVEREST, CONTRABAND) came through with this very visual erotic coming-of-age story of late maturity and being in a love triangle with your mother.  

I would like to say this film can be easily categorized, but this film is one you can never quite take too seriously. So that one minute It’s a romance then it seems like an aimless character study. Then it seems like a woe-is-me for a character we can never quite feel sorry for. So if anything we can say this film is a quirky comedy. 

There isn’t much substance to the material. A kind of love and lust triangle between a son, mother, and lodger. So that it ultimately becomes a film about relationships or connections.

A lodger is a free sprint and flamenco teacher played by Victoria Abril. Whose performance full of life, charisma, vitality, grace, and spirit is what saves the film.  Not to mention her obvious beauty. She truly saves the film and is the only reason to watch it. It’s what got me to watch. As when she isn’t in the film it drags. You wonder was the character written around her or was she cast perfectly and it worked out? 

Only wish she was in a better film that matched her talents and made her just her own thing to admire and love about the film. Rather than the only thing.

The main character is an unlikeable selfish jerk, but he is our guide. So when he gets his comeuppance. We aren’t as upset as it is expected.  The film tries to come off as a foreign Woody Allen-inspired film. Only less artistic and more aimless. 

His mother finally found a relationship and forced him to grow up. The downfall of his responsibility. Though originally seemed like it might focus on a lesbian relationship. It ultimately adheres to the male gaze and sexual fantasies and actions of straight sex.

The film is pretty open-minded for its time and has a liberal openness as it offers no judgments on anyone. It ultimately becomes about a young man learning to grow and become responsible. Learn how to truly have an adult relationship. So in certain moments is a relationship comedy. 

Which leads to the increasingly complicated situations he finds himself in. That proves to be his downfall and maybe his saving grace.

The film is a time waster and has some good ideas and tries to twist it so that instead of playing the victim the main character is almost a villain at times, but learns to grow up somewhat. Though none of it Is compelling enough to keep a major interest. 

Grade: C 

TOTALLY KILLER (2023)

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Directed By: Nahnatchka Khan 

Written By: David Matalon, Sasha Perl-Raver and Jen D’Angelo

Story By: David Matalon and Sasha Perl-Raver

Cinematography: Judd Overton

Editor: Jeremy Cohen 

Cast: Kiernan Shipka, Olivia Holt, Lochlyn Munro, Julie Bowen, Randall Park, Charlie Gillespie, Troy L. Johnson, Liana Liberto, Kelcey Mawama, Stephi Chin-Salvo 

When the infamous “Sweet Sixteen Killer” returns 35 years after his first murder spree to claim another victim, 17-year-old Jamie accidentally travels back in time to 1987, determined to stop the killer before he can start.

A movie that one can easily see why there is a comparison with the film FINAL GIRLS. Both involve trying to save mothers from a killer having a serial killer who seems unstoppable and being sent into a different period of world.

Though Totally Killer has its own identity and a mystery more at its heart as well as back to the future time travel element.

This movie really makes no sense but it also doesn’t try too hard to. It’s silly and funny as well as fun. This by the end comes across as a guilty pleasure. It is a horror film but feels more like a comedic send-up of slasher films as well as time travel films with some graphic violence.

It’s simplistic but half the humor Is having a character with modern sensibilities dealing with the less politically correct attitude of the past. As well as the movie is a bit tongue-in-cheek and has a sense of humor about itself. Though staying on the ball when it comes to the story and plot. As well as characters.

Kiernan Shipka is good in the lead role being equally dramatic and comedic when need be. It’s also nice to see a film that is more diverse when it comes to casting and not making it a big deal or obvious. 

Director Nahnatchka Chan’s second movie after the surprise hit ALWAYS BE MY MAYBE also brings along that film’s star and co-screenwriter Randall Park to play a small, pivotal supporting role in the film. 

This plays more like a teen comedy and is a film you have to experience to get the most out of it. Talking or reading about it doesn’t do it full justice. It has the right campy attitude with enough rebelliousness and inside jokes from the culture of that era and movies.

In the end, it is a mystery that has you guessing. Though when all is revealed it doesn’t feel like it matters as much as it should. 

Grade: B-