Tag: Comedy

DONALD CRIED (2017)

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Written & Directed By: Kris Avedisian 
Story By: Kris Avedisian, Jesse Wakeman & Kyle Espelata 
Cinematography By: Sam Flesichner 

Cast: Kris Avedisian, Jesse Wakeman, Louisa Krause, Ted Arcidi, Shawn Contois 
With the sudden passing of his grandmother, Peter Latang returns to his hometown and encounters his long lost, childhood friend, Donald Treebeck. What begins as a simple favor, turns into a long day’s journey into the past.

I will say that this film isn’t for everyone.

Making and distribution of this movie funded through the website, Kickstarter.

As it is very low budget and seems more like a labor of love and a kind of semi-autobiographical cal story that feels like a kind of therapy or expression of what could have been.

This is a film that will easily be overlooked, it’s worth it if you take your time to discover it.

The cartoonish appearance of one of the characters prepares you to expect one type of story but delivers another. Almost like a bait and switch.

The director stars in the film and wrote the film. His co-star in the film who plays his friend is also the co-writer of the film.

It’s a comedy of sadness that feels at home in despair. That comes off depressing to a degree. That shows how some people grow and some don’t. Who seen stuck in arrested development. To when they had their heydays and as the world matures they still seem to stay the same.

Here a character comes back to his hometown to bury his grandmother and take care of her estate and rubs into an old friend and while definitely changed he can’t seem to shake this friend and the longer he is around him find himself reverting to his old ways. Even though we are never completely told we find out so much about their past through stories and other characters. Gradually over the 24 hours they spend together. It appears both have some anger issues towards one another and in general.

The film generally stays awkward and uncomfortable throughout. With both characters not particularly likeable though whenever you want to feel sorry for them. Something happens that brings them back to being unlikable. Maybe then it is more understandable what makes them that way.

The film is very revealing with an intimacy that is not that intricate, but is affecting. As it seems like both characters are sensitive and working through issues but constantly pushing them to the side or deflecting. That makes the film feel like they are both having a one-man show. Working through the pain only more encompassing and interacting. Though Donald clearly cherished this friendship and that they were close when others recollect it seems that his friend was kind of cruel to him and used him. Which is why Donald who seems to dress more like a comedic character who looks like he belongs in NAPOLEON DYNAMITE

How hard it is to communicate feelings as a man to another man. Especially when you have grown up and grown apart. That asks what if you were only friends die to location and necessity. Seeing other characters from their Youth move on or marvel at how stuck they seem or how some have moved forward. They don’t necessarily fit into each other lives now, but always have a bond and feeling for one another. Are friends for the past entitled to you and your feelings? Are you supposed to be on their side? I matter what? The film explores how friendships can evolve like relationships. How they can be manipulative and disintegrate.

The past can be subjective. You can look at it as positive, but once confronted the truth comes to light and you realize you weren’t as good and heroic as you once thought.

It even seems to have a moment of easy temptation that seems like selling out of sorts.

The film affected me. As it might have hit too close to a nerve for me. Though the film also feels like a kind of release for the characters and the audience finally by the end.

Going back to a past you hoped would stay that way and becomes  a comedy of layers

GRADE: B

DINNER FOR SCHMUCKS (2010)

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Directed By: Jay Roach
Written by: David Guion & Michael Handelman
Based on the original screenplay “Le Diner De Cons” by: Francis Veber 
Cinematography: Jim Debault 
Editor: Alan Baumgarten & Jon Poll

Cast: Paul Rudd, Steve Carell, Zach Galifinakis, Jemaine Clement, Bruce Greenwood, Larry Wilmore, Andrea Savage, Lucy Punch, David Williams, Stephane Szostak, Ron Livingston, Kristen Schawlow, Nick Kroll, Randall Park, Chris O’Dowd, Jeff Dunham, Octavia Spencer, Rick Overton 

When he finds out that his work superiors host a dinner celebrating the idiocy of their guests, a rising executive questions it when he’s invited, just as he befriends a man who would be the perfect guest.

While I quite enjoyed the french original it was smaller scale and crueler. Limited in its locations and hijinks. 

As Well the lead was less likable and by the end, all that happens seemed more like a well-deserved comeuppance. Though after a while you Could feel his pain

This American remake is opened up more to allow more characters and situations. That makes the film feel more Bloated than it needs to be.

The film has a talented comedic cast, who all seem to go over the top and try way too hard to make the material work when not needed and steal the movie. It doesn’t feel so much as fun and entertaining. With each trying to top one another in a game of one up man ship that it feels grand in its upper-crust air. Though proves that some bits and pieces are good enough. Which is a shame because the cast is pretty solid. 

Steve Carrell feels too familiar with this role in THE OFFICE of being innocently annoying and stupid more silly here and bigger. While He is one of the stars he keeps getting scenes stolen from him by co-Stars.

Steve Carell does what he is supposed to do and can be a chameleon usually in roles you would never believe he would be cast in, but here he never quite makes a mark to pass into an original or a classic. 

The film certainly lacks any subtlety. The film still wants the main stars to be likable. So the film opens up the story for more hijinks. As well as padding out the cast and a third act showdown. Whereas the original could have been a theatrical stage piece.

One can give credit for opening up the Story but each new location most feels like a set up where you know things are going to go wrong. 

The film isn’t As snobbish or highbrow as this seems more broadly humored. 

Yet again though this is a remake made for now original the foreign language one was and other than it’s the Main point most is changed around for a more mainstream appeal that subtracts what made it so special in the first place. It’s never a good place to be, because if you follow too closely then it’s like the film

LET ME IN practically the same shots with different actors and in English with minor changes. Where you might as well watch the original as everything is pretty much the same. You just won’t recognize the cast and will have to read subtitles.

So if you have seen the original while this is bigger it comes off strangely and as even if you haven’t seen the original. This still will be way too familiar and you’ve seen it before and done better.

GRADE: C

BILL & TED’S BOGUS JOURNEY (1991)

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Directed By: Peter Hewitt
Written By: Chris Matheson & Ed Soloman
Cinematography By: Oliver Wood
Editor: David Finfer

Cast: Keanu Reeves, Alex Winter, William Sadler, George Carlin, Joss Ackland, Pam Grier, Hal Landon Jr., Sarah Trigger, Jim Martin, Taj Mahal, Primus 

The world of our distant future is a veritable utopia, thanks to the lyrics of two simple-minded 20th Century rock and rollers, Bill S. Preston, Esq. and Ted “Theodore” Logan. However, a would-be conquerer threatens to throw history off-track by sending “most non-non-heinous” evil robot Bill and Teds back to kill their good counterparts. Finding themselves dead, the boys must outwit the Grim Reaper and traverse Heaven and Hell to return to the land of the living, rescue their “babes” and have a “most triumphant” concert at the all-important Battle of the Bands

The original title was “Bill and Ted go to Hell” but was changed because of American objections to the use of the word “hell”.

Stephen Herek declined to return as director because he thought it was “almost a parody of a movie that was already a parody”.

This is a sequel not too many people saw coming as yes the first film was a hit, but this sequel while seeming a bit more forced. This seems to revel in the off the Wall motif of everything involved and seems giddy with the chances they have in where they can take the film. As this film is much more wild and experimental and bigger budgeted.

When it comes to this film while there is much more to love and it is more accomplished. I prefer the original for it’s newness factor. Here we are used to these characters and while the film offers a noticeably different story. It still doesn’t feel quite as fresh as the original. Though this one is stranger. It’s not a bad film just different In its own way

definitely can say that this film seems to benefit from a better budget. As the art direction is a lot more sharp and pleasing to the eye. Making the film seem more surreal overall. As the visuals stay with you.

While this film is futuristic it is also definitely a film of its time. Which is where the film’s weakness lies. This is a film where you can tell everyone had a lot of fun making. As all the actors are inspired even the leads seem more gung ho in their roles as maybe they understand the characters more.

As the leads get to play multiple versions of themselves and seem to have their characters more on a directional path. Whereas in the first film they were teenagers who got a glimpse of the future. They still had the time and plenty of room until then. Here we see them trying to get there and the otherworldly obstacles in their way.

This film has less of a necessary story than the first film which just seemed like an odd quirky high concept comedy. Here the film seems more inspired by the characters than the plot. As this film Plays more like a comedic nightmare for the characters. Though you can’t debt that the film is more vibrant if slightly more off-center. As the film beers more into star Alex winter’s early short films and show on MTV, IDIOT BOX. As well as his feature film directorial debut FREAKED, in it’s strange and surreal humor. Where scenes seem partially like sketches that tie into the overall story. Especially in the hell sequences 

William Sadler as death (his death character seemingly more inspired by Max Von Sydow in THE SEVENTH SEAL) steals the film with so much gusto and comedic highlights. That it is another performance that should have made him more in demand and lead to either more lead by roles or character actor roles. At least more comedic ones.

In this film, there is very little time travel. This is a relief as it leaves the film Not relying upon or rehashing the first film’s main focus. Making this sequel seeming fresher.

This film though does feel more creative. As it takes more chances and seems a lot more fun. It’s like a funhouse version of the first film. Whereas this film shows it’s inspirations and seems more aimed at off the wall humor. Focused on its core younger audience. This film also introduced an actual villain for the two characters to face. Even though Joss Ackland claims he only too the role because he lost a bet.

These films always feel like a precursor or an inspiration to the WAYNE’S WORLD skit and movies. Which just like this film had a more surreal and overstuffed sequel. as well as BEAVIS & BUTTHEAD was only more likable.

The film has an ending song that at the time felt iconic but listening to it now feels more melodramatic and embarrassing from the band KISS.

Grade: B-

THE INFORMANT (2009)

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Directed By: Steven Soderbergh 
Written By: Scott Z. Burns 
Based on the book by: Kurt Eichenwald 
Cinematography By: Steven Soderbergh (As Peter Andrews) 
Editor: Stephen Mirrione 

Cast: Matt Damon, Melanie Lynskey, Scott Bakula, Joel McHale, Clancy Brown, Tony Hale, Ann Dowd, Rusty Schwimmer, Eddie Jemison, Tom Papa, Rick Overton, Thomas F. Wilson, Scott Adsit, Andrew Daly, Ann Cusack, Patton Oswalt, Tom Smothers, Paul F. Tompkins, Candy Clark

Mark Whitacre has worked for lysine developing company ADM for many years and has even found his way into upper management. But nothing has prepared him for the job he is about to undertake – being a spy for the FBI. Unwillingly pressured into working as an informant against the illegal price-fixing activities of his company, Whitacre gradually adopts the idea that he’s a true secret agent. But as his incessant lies keep piling up, his world begins crashing down around him. 

Based on a true story. 

This seems like the perfect set-up for a comedy a rather dry one. 

The film starts off a little haphazard at first laying its groundwork. That at first is confusing, but you get the full picture as the film goes on. The first half of the film also feels a little pretentious as it seems to feel it’s the smartest kid in the room and has jokes and humor that seems to be inside and to itself, but the film becomes more interesting and compelling as the film goes on. 

Though there are many good actors in the film their roles are so small they never get a chance to shine. Quite a few stand-up comedians in the cast. I believe more for their improved skills and ability to punch up the lines to have a humorous stance, but most of them play straight and deadpan where as the dramatic actors are playing more comedic roles. Which i believe is another cinematic experiment by director Steven Soderbergh to subvert genre rules and play with the material. 

The film is practically a one-man show for Matt Damon who gained weight for the role. Already a great actor. He is certainly having fun here while portraying a three-dimensional real character. 

It’s always nice to see Scott Bakula on screen a character actor. Who always seems to pop up in the odd film. Who I always feel should work more though it may be my hero-worship of him from the Tv Show QUANTUM LEAP. 

I have a love/hate relationship when it comes to Mr. Soderbergh and his movies. I applaud his filmmaking skills and the fact that he brings more experimental techniques and direction to mainstream films. The problem is that at times it generally distracts and makes you pay more attention to it. Then the actual story that is onscreen can work if it’s a story you’ve seen many times (ERIN BROCKOVICH) before or the films. Theme and plot are thin or more of a character study, but if it’s a straightforward film it can be a bit much. I respect and honor him for it, but at times it feels a bit much. 

What works here is that in his head Matt Damon’s character is playing this espionage mission and is a hero and has convinced himself that he is the innocent hero and his employers are the villains when in actuality he is the villain, yet see’s himself as a double agent and is able to convince others of this. Only it’s not an exciting action-packed cat and mouse situation, but the most mundane and boring business double-dealing. It’s a nice and interesting contrast considering we have seen Damon actually play a character in life or death Espionage action films in The Bourne Trilogy 

In an NPR radio interview, Matt Damon said that Steven Soderbergh, to get Mark Whitacre’s final apology to the judge just right, directed Damon to perform the lines as if he were accepting an Academy Award. (Damon said it was an example of “perfect direction”.) 

The mood of the film comes off as a timely classic period piece though it is thoroughly modern. Steven Soderbergh makes films full of ideas that might not always work for general audiences, but at least he is trying you get a general sense of excitement behind his films as he is actually thinking far ahead while in the moment. This doesn’t make for the fastest most exciting moments while watching the films. Once you are finished watching the film though it does leave you to think more about what you have seen. it stays with you a bit longer. You just don’t dismiss and forget. It’s not exactly disposable. That is what a true artist as a director brings to the screen. 

The film purposely styles itself like a classic 70’sfilms in tone and mood. Even its titles and score by Marvin Hamlisch. This also leans it more towards the Pretentious style or maybe I am being a bit harsh and it’s more a homage. 

I realize that at times Soderbergh more goes for the documentary-style where he seems like he is filming as it really happens. I give more kudos to the cast for never breaking and making the mundane of the character believable. 

The film starts off as a guy who tells a lie to get out of trouble and the lie just snowballs bigger and bigger leading to a bunch of lies and when he finally gets caught. He tries to lie and deal his way out. The thing is as he is lying at times he even seems to believe the lies but ends up destroying many lives for nothing while still feeling and portraying the victim not understanding or refusing to see why people are mad at him. 

I believe his character appears to want to be the rebel because he believes he is always being slighted but wanting to be popular also and believing he is the smartest guy in the room. 

GRADE: C+

FLIRTING WITH DISASTER (1996)

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Written & Directed by: David O. Russell

Cinematography: Eric Alan Edwards

Editor: Christopher Tellefsen 

Cast: Ben Stiller, Patricia Arquette, Tea Leoni, Josh Brolin, Richard Jenkins, Mary Tyler Moore, Alan Alda, Lily Tomlin, George Segal, Celia Weston, David Patrick Kelly, Nadja Dajani 

Five months after the birth of his son, Mel Coplin remains unable to name the child until he has met his own biological parents and discovered who he “really is.” He, his wife Nancy, and his social-worker-in-training Tina Kalb jet off to California to meet his birth mother–who turns out not to be his mother, due to an error with the agency’s adoption records. The quartet sets out in search of Mel’s real parents, with tensions growing because of the sexual chemistry lacking between Mel and Nancy and growing between Mel and Tina.

This film is made in a classic screwball comedy type manner, but it feels more intellectual than these films. As it swings from out and out wacky comedy to more witty humor. So that it feels like a modern for that time Woody Allen movie. Only with his earlier anarchic spirit behind the camera.

The film often goes for shocks in it’s comedy but doesn’t feel blatant and ends up more subtle at times.

Each of the characters perfectly complements the ensemble as each of them appears fairly normal, but as we get to know then their dysfunctions or freaky side is revealed and they are so one of a kind many of them. Could have a whole film built around them.

Though the film is shot small and more like an independent film. Where at first we are in The cramped apartments of New York where it feels overwhelming and tight. As there are scenes that take place more indoors and feel closed off. Once they hit the open road it offers more abundance.

Though the way the camera keeps moving and shooting. It’s shots make it look like the camera like the performers are always exploring be it themselves, space, or boundaries. Which as a viewer excites you as you are never quite sure what will happen next and it keeps you laughing.

The timing And delivery of the jokes and performances as well as the direction are all on point.

The ensemble cast that would be seen as an all-star cast now. Seem more like they are improving like a jazz standard jam. Riffing off of one another and carrying the beat. Though while sure improv was involved it seems like the film was actually tightly scripted. Though when dialogue as said. It seems like it was thought up on the spot.

This is a comedy that delivers real surprises when you don’t expect them.

The strength behind the film is writer/director David O. Russell. He pulls the film together. Cinematically It’s impressive, script-wise it’s impressive and the performances he gets from his cast are amazing. As they go from serious to wacky in an instant. He usually can find laughs and comedy in situations that are not the usual places most would even go looking. Especially in dire depressing situations. Not only with this film but with films

Like his directorial debut SPANKING THE MONKEY (a rather depressing comedy about incest) I HEART HUCKABEES, THREE KINGS, AMERICAN HUSTLE, JOY, THE SILVER LININGS PLAYBOOK, and THE FIGHTER. He shows range, talent, and a certain composite. Where you can’t say there snot if his films are the same.

The casting in this movie is inspired as ben Stiller doesn’t seem as in control here nor are his reactions with his usual acting tics in this movie. This seems like one of the last times he would be this pristine performance. Though he usually plays this type of character.

Tea Leoni and Patricia Arquette get to show off their talents. Tea Leoni in a more offbeat styled character who was usually played at that time by Parker Posey. She really shows her chops in a role she rarely gets to do these days more the neurotic sex pot who dresses more like a femme fatale. Who always seems in control but might be just for appearances.

Patricia Arquette has an almost leading lady form and is that attractive girl next door quality as Stiller’s wife.

Mary Tyler Moore as his overbearing Jewish mother. Who likes to show how good her body still is in shape. She tries to steal the movie but is in her realm in a role that at first looks like stunt casting but actually works out well.

Josh Brolin being more comedic and open than usual as a gay/bi FBI agent who tags along on the ride.

This film is a treat I regret not seeing in theaters. As I tried but disappeared fast. Though luckily saw it as soon as it was available on home video. Though I will admit It was A film that had to grow on me. Like the first time, i saw it. I thought it was funny but not hilarious. As I watched it over the years it has won me over. As I began to notice the layers and construction of Jokes, scenes, shots, and characters. It’s an underrated film that needs to be revisited and Given more credit.

Definitely an addition to the home library.

Grade: B+

VAMPIRES VS. THE BRONX (2020)

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Story & Directed By: Oz Rodriguez 

Written By: Blaise Hemingway 

Cinematography: Blake McClure 

Editor: Sara Shaw & Alex O’Flinn 

Cast: Jaden Michael, Gerald Jones III, George Diaz IV, Cliff “Method Man” Smith, Coco Jones, Joel “The Kid Mero” Martinez, Sarah Gadon, Shia Whigham, Zoe Saldana, Judy Marte, Chris Redd, Jeremie Harris, Imani Lewis, Jordan Tyson, Torre Alexandre, Adam David Thompson 

A group of young friends from the Bronx fight to save their neighborhood from gentrification…and vampires.

The film manages to have an opening celebrity kill to try to throw you off and gives the film some star power and sets out the gauntlet to show that anyone can be a victim in this film. 

My love for this film might be because it so a film That is so recognizably New York and relatable to ave rain extent when you come to the neighborhood and the characters. An element that is disappearing in New York and not necessarily modernizing. 

This is a movie made by a New Yorker for New Yorkers. The title gives away the plot but also gives it a sheen that seems like a gimmick or an exploitation movie title. That actually has a lot of heart and surprisingly a coming of age tale partially. While keeping the genre elements.

The film is kind of a modern-day urban  LOST BOYS. Even mimicking a scene from in the latter half of the film. Or even the film THE MONSTER SQUAD only all with vampires instead of a choice of movie monsters  If looking more for mood, this film is a horror, but the appeal is more aimed at teens who are the protagonists and heroes though more humorous. Offering a film for a neglects audience with crossover appeal. 

As this is an Amblin type film. It’s never scary and while it does have violence. it never gets too gory.  Tying into the STRANGER THINGS audience a bit.

A flavorful offering slice of life with colorful characters of color with a natural presence, personalities that make them charismatic.

The film is constantly humorous, while also horror in a kind of old school classic horror way. It’s a film that is nurturing and wears it’s Inspirations while trying to create some and subvert some coming of age cliches. 

A good gentrification analogy making it look more like a species battle or battle of the living undead. Following in Jordan Peele’s and George Romero’s social commentary or socially conscious genre filmmaking. A genre movie that informs while being a solid genre specimen itself.

The film presents an urban neighborhood. Not in a bad light for once but as a colorful, cultural fin and supportive community. A film obviously made by a resident or insider to the neighborhood. As the film isn’t stereotypical nor does it talk down to the audience or characters. As it remains a self-contained adventure with supernatural elements.

Like they don’t have enough to worry about day to day. Now the supernatural who want them exterminated for access to what they were never concerned with or thought they were too good for. Again Europeans trying to take over land cultivated by the locals for decades. 

Nice to see a film about a community coming. Together.

Satirizing gentrification taking over urban neighborhoods and spaces with new stores and posters that seems to take over and work like subliminal messages and inside jokes. Similar to those in the movie THEY LIVE. Not necessarily a message movie but has a minor one.

It’s like reading a young adult book, not necessarily the audience for the film but get into it nonetheless. Easily could have gone the exaggerated route of slapstick sort of HOUSE PARTY 2.

It’s nice to see people of color in this type of film and be the main characters. As I am all for more people of color in horror films. Though less as victims or the first one killed. And usually the only one in the film, usually the provider of illegal substances or drugs. Still desire more representation even though it still counts but more equal. If the victims and protagonists are in the same number. 

It’s only main weakness might be that it is a little predictable. Though it ends up being a fun rollicking adventure with characters you rarely see in movies especially this type. 

Grade: B

HOCUS POCUS (1993)

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Directed By: Kenny Ortega

Written By: Mick Garris & Neil Cuthbert

Story by: Mick Garris & David Kirschner 

Cinematography: Hiro Narita 

Editor: Peter R. Berger 

Cast: Bette Midler, Sarah Jessica Parker, Kathy Najimy, Omri Katz, Thora Birch, Vanessa Shaw, Larry Bagby, Doug Jones, Charles Rocket, Sean Murray, Kathleen Freeman 

A curious youngster moves to Salem, where he struggles to fit in before awakening a trio of diabolical witches that were executed in the 17th century.

This film has garnered a cult following over the years. Unfortunately, I am not one of that crowd. Even though when it came out I was really looking forward to seeing it. 

By all means, this is a film one should hate, but I don’t. It’s not good but it is cute. Perfect for kids who should love it as it fits in with what would seem to be their fantasy. Mildly scary but not violent and it also includes all the ghostly elements of monsters. Not to mention that is who the film is made for.

It also is a throwback to when movies came out aimed at them that were goofy and maybe simple but relied on stars and not so many special effects.

Another reason it’s not a total failure is that it’s almost like watching a bunch of adults playing dress-up. The three main antagonists Bette Midler, Sarah Jessica Parker, and Kathy Najimy as a coven of witches watching them. As the witches from the past getting acquainted with modern times and mindsets are silly.

One can admit to having a weakness for Bette Midler movies. Just as some people have a weakness for Barbara Streisand movies. She is just an amazing performer and even as ridiculous as this is. She puts her all into it and seems to be having fun. Her and the cast are the reasons I even watched the film in the first place.

One of the reasons she did this film supposedly is that she passed in the film SISTER ACT. Which revitalized Whoopi Goldberg’s career so she took this hoping for a smash hit. Unfortunately, it bombed and it’s been rare that she has really been on-screen since. Yet over the years, it has become a cult classic.

The film is dated and gaudy but good for children. As it is simple and colorful. If it was made now it would have been a film that would have been a Disney channel original movie.

definitely, a children’s film that tries to be a bigger feature and modernized but ultimately is more a fairy tale or bedtime stories strictly for kids. There is nothing wrong with that. So that it is perfect for it’s core audience.

Directed by Kenny Ortega the movie has certain rhythms which other than having Bette Midler as the star there is a bunch of scenes that revolve around singing or music or group scenes of dancing or crowds moving together.

This is pretty much a Disney original movie you would normally see on their channel. Only at the time when they still made these features for theaters and got big stars to headline. So much bigger-budgeted and higher expectations. So at least it offers a family Film

It has an innocence yet remains dark to a degree. It’s a fun film that never quite got it’s due but finally seems to gain an audience every year due to it being entertaining. You can’t be cynical or dark. Go into this movie or you will miss It’s appeal and nuances

It has a feckless teenage romance story in it that goes nowhere except to maybe appeal to that demographic. Who wouldn’t be going to see this film anyway unless forced to. In the end, the film is perfectly harmless. 

Wait for it on cable or even television, but even they don’t play it that much. But really it’s a movie where looking at the poster you know what you are getting yourself into.

Grade: C+

ADDAMS FAMILY VALUES (1993)

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Directed By: Barry Sonnenfeld 
Written By: Paul Rudnick 
Characters Created By: Charles Addams 
Cinematography By: Donald Peterman 
Editor: Jim Miller & Arthur Schmidt 
Music By: Marc Shaiman 

Cast: Raul Julia, Anjelica Huston, Christina Ricci, Christopher Lloyd, Joan Cusack, David Krumholtz, Carol Kane, Jimmy Workman, Christine Baranski, Peter MacNicol, Mercedes McNab, Sam McMurray, Dana Ivey, Nathan Lane, Harriet Sansom Harris, Charles Busch, Peter Graves, Cynthia Nixon, David Hyde Pierce, Monet Mazur

On any day of the week, you could expect a newborn baby to be nurtured and loved by his older sister. Except, of course, if it’s Wednesday. Pubert is the latest addition to the Addams family and, to prevent sibling rivalry escalating to fratricide, Wednesday and Pugsley are shipped off to summer camp and a nanny is hired. Debby Jellinsky is great with wrinkling baldies, which makes her the perfect nanny for Pubert and the unlikely wife of Uncle Fester. The question is…”Is she grave-digging or gold-digging?”

This is an underrated film. One of the rare sequels that excel over it’s original. Though here they seem to have more room to explore the world that the characters live in, but also the culture clashes.

The first film seemed to try to be more loyal to the fans of the television show. While trying to set a tone. Here the film is allowed to have its own personality, the actors also seemed more relaxed, laid back, and energetic. making the characters their own and not so much an imitation. Everyone seems to have found their groove.

Directed with flair and an intricate style that is assured.

The cast is superb. This I believe was the great Raul Julia’s final good role definitely better than M. Bison in the film STREET FIGHTER.

Christina Ricci deserved a best-supporting actress nomination for her work here. She steals the film. She makes Wednesday three dimensional, sadistic and quite witty.

This is also the first time I remember a Peter MacNicol performance and the prey time I remember seeing Christine Baranski as an actress.

The Addams family always struck me as strange of course the ultimate goths, by what were they? At least with THE MUNSTERS, you knew who or what they were supposed to be even though they came off as normal just happen to be monsters in appearance. With the Addams other than a cousin, it and thing and maybe lurch the butler, who appeared to be a zombie. The others appeared normal just macabre. I mean if you had I guess Fester was a mad scientist, Grandma was a witch Morticia dressed like a vampire, but could also be seen as a witch who just never cast spells. But Gomez was always a question mark. All you knew about him was that he was wealthy and energetic. More like a game show host mixed with a use car salesman and mortician.

because of films like these being so successful, it had the trend of films being made of old television shows and cartoons. This worked as it garnered a new generation of fans. While not being so far removed in years from the shows Initial popularity that there was still a sizable audience for it. Mistakes films like SPEED RACER made (while that film also had more of a cult following)

This film is a clever mixture of dark comedy, surrealism, slapstick, and satire. This is one of the films that made me realize why I truly embraced dark humor.

The only problem I have ever had with the first two Addams Family films is that the theme song for the updates was always tied into whatever pop star was popular at the time tieing in their hit songs style to fit the theme. Hence for this film whoop the Addams family there it is by tag team. Who’s hot the previous year was whoop there it is. This seemed to be common for tent pole franchise movies at the time. I still have frightening memories of the music video from hammer and the original movie theme the Addams family. Done in a more upbeat dancing style of music.

Michael Jackson was signed on to write and perform a song for the film’s soundtrack and to promote it with a video. Although he was able to finish the song, contractual difficulties coupled with the child molestation allegations made against Jackson resulted in the song being dropped from the soundtrack, and the video was never filmed. The song, “Is It Scary,” was later included on Jackson’s 1997 ‘Blood on the Dance Floor: HIStory in the Mix’ album and was also used in his short film Ghosts.

This film does everything right by bringing the Addams out more and exposing them to the public in daily life. Mixing with regular everyday citizens. Making it more of a culture clash comedy. That reaches it’s highlights at the Wednesday and Pugsley being forced to summer camp. (A genius idea) That ends with a classic comic set-piece celebrating thanksgiving.

Adding more than just makeup to the character, Morticia Addams is always lit separately from everyone else in a scene. Her lighting always consists of one beam of light across her eyes that gradually fades outward to add to her grim look.

The film reaches more comedy apex with the scenes involving Joan Cusack as a nanny out to seduce Fester. She is her regular brilliant comedic self as the homicidal gold digger.

When Fester announces his engagement, Morticia makes an overt reference to the ring worn by Debbie being the same one in which Fester’s grandmother was buried. Debbie slyly whips out a shovel, adding a literal component to her character’s “golddigger” status.

Carol Kane, who plays Grandmama, is almost a year younger than Anjelica Huston, who plays her daughter, Morticia Addams.

The reborn baby Pubert doesn’t work but needs to be there for Cusack’s character to enter the picture.

Some of the jokes are more of the moment and seem to make a stab more pop culture at the time. That brings a nostalgic feeling for those who remember the times. Though might be lost on others.

I can’t help but love this film and I really think it is a dark comedy the family can enjoy and have fun with. I remember seeing this film twice I. Theaters and even knowing all that would happen. This film still made me enjoy it as much as the first time.

Grade: B+

THE BABYSITTER: KILLER QUEEN (2020)

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Directed By: McG
Written by: Dan Laguna, McG, Brad Morris & Jimmy Warden
Based on characters created by: Brian Duffield
Cinematography: Scott Henriksen 
Editor: Martin Bernfield

Cast: Judah Lewis, Jenna Ortega, Emily Alyn Lind, Bella Thorne, Andrew Bachelor, Robbie Amell, Hana Mae Lee, Ken Marino, Chris Wylde, Leslie Bibb, Samara Weaving, 

Two years after Cole survived a satanic blood cult, he’s living another nightmare: high school. And the demons from his past? Still making his life hell.

I was wasn’t expecting this but there was a part of me that was expecting this movie. Now while I enjoyed the first film in this franchise a lot more than expected. I didn’t know if it really had legs for more sequels.

This film is just as fun as the first film but a lot dumber than the first film. This film seems to know what type of film it is and goes full tilt with its own distractions and humor. No matter how stupid or illogical it could be.

If you are a fan of these types of films and want to have a good time and be entertained then this film is for you. As it seems to continue In Director McG’s wheelhouse of horror and sci-fi films for Netflix that have teenagers or preteens at the center of everything. Though this film and the first babysitter film feel more money he works or inspired by director Joseph Kahn(DETENTION)(BODIED) who has more of visual flair and quicker cuts when it comes to editing.

As this film seems to be missing a certain element. Maybe the dynamic of having Samara weaving on screen more made the film a little more believable and watchable if even just for her charisma in the role.

Here it is almost a repeat of the first film only at a different and bigger location and a twist in the story that seems there to make room for a new character and leading lady for the main character. Though we have the same characters returning from the dead to try to sacrifice the main character for a blood ritual that will make them Immortal.

This is an interesting premise, but as they return they are just as easy to kill as in the first film. So again they are dispatched in a similar manner only here more gruesome and grotesque.

The new main villain is just as close as the babysitter was int he first film and the film tries to also sex her up more in tight and revealing clothes which is the first amongst other clues in the film before the big reveal that they have become evil. What is interesting is that at least they kept the new leading lady Jenna Ortega cute but dressed normally and sarcastic but a hard ass. So she is the opposite of the villain though has the dirtier look.

We see How the original crew was recruited which offers a distraction. Visually but seems like they were recruited in the 1980s more even as the film and the last one was more modern. This just seems out there as a stylistic choice but then also disrupts the continuity of what we know from the original film, but then again this isn’t the type of film to take seriously.

Though most of the cast from the original returns. It is actually nice to see them and their characters. As they remain hilarious and it is nice to catch up with them and learn a little more about them and their pasts.

The film never takes itself seriously and doesn’t expect the audience to either. As the film constantly shows or uses inspiration from the past or other movies to power scenes and the soundtrack. 

This movie feels lien CRANK 2 where it takes all that was from the first film And cranks it up as more for a spectacle that while not going to make any cinematic elitist lists is a fun time and a proper guilty pleasure. That you wish was just a bit better though that might take away the charm. 

The film tries but doesn’t come close because it seems to kind of pander to what it believes the audience wants more of rather than have more of a clear plan and structure. 

So it becomes kind of what it is parodying. Where you can tell when someone is trying to be something or someone that they aren’t to try and impress and while it’s entertaining at first it becomes sad and obvious quickly. Whereas if maybe it was itself from the get-go the audience would come and get to k ow it and appreciate it for it’s sincerity and truths. Though if you are a fan of splatter and gore in your horror. You have come to the right place.

Samara weaving does return for this film in more of an extended cameo. The film needed more of her. As whenever she comes on screen she seems so smooth and takes over her scenes. That when she is gone it only exposes how hard others are trying to just be as good and memorable.

It seems like in most teen horror films I see Bella Thorne always has a death scene. It would be nice to see her survive in a horror film. As here yet again she seems typecast.

The title seems to imply there is a queen when in fact it just seems to have that title as either claiming Samara Weaving’s character is a queen of the kill or tied into the and Queen’s recent popularity or trying to imply that this film is full of campiness. While the film is full of humor, sarcasm, and cynicism. Nothing is truly campy in this film 

Grade: C

SCOUT’S GUIDE TO THE ZOMBIE APOCALYPSE (2015)

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Directed By: Christopher Landon
Written By: Carrie Evans, Christopher Landon & Emi Mochizuki
Story By: Lona Williams, Carrie Evans & Emi Mochizuki
Cinematography By: Brandon Trost
Editor: Jim Page

Cast: Tye Sheridan, Logan Miller, David Koechner, Cloris Leachman, Joey Morgan, Sarah Dumont, Halston Sage, Patrick Schwartzenegger, Missy Martinez

Three scouts, on the eve of their last camp-out, discover the true meaning of friendship when they attempt to save their town from a zombie outbreak.

The film delivers the title, but when you see the advertisements. You expect a squadron or at least Boy Scouts. Who are at the least 12 years old or younger. Which is horrifying and unique. Yet funny.

The screenplay for this film was featured in the 2010 Blacklist; a list of the “most liked” unmade scripts of the year.

Here it is three teenagers and a cocktail waitress. So it becomes more of a teen movie with respective gross, low class sense of humor that tries to be explosive, but never goes fully to its capacity and tries too hard with no enthusiasm as some zombies are capable to think to a degree that leaves the film just seeming to revel in what it thinks is cool or what it believes the audience is after. Rather then tell it’s story with confidence and skill.

Though the film feels small scale and a bit scattershot with the throw everything and the kitchen sink type of plotting. The film seems more mainstream and wanting to tell a joke and get the audience to laugh with it. Though the jokes seem innocent they come off more as raunchy, but seem to want to have heart.

The film just ends up feeling like a cheery caffinated cheeerleader when you just want to watch asimple game.

Though strangely the film is scored like a Steven Spielberg film. Though not as skilled and knowing how to make the score work for the film and the emotional current of the scenes. Not using it for it’s strength or depth. Especially as Spielberg seems to be one of the masters of incorporating it as a desired ingredient and needed thread to his films. The soundtrack songs seem More like outdated music cues that one wonders if for recent nostalgia? Or for how pathetic they are and in bad taste? Or did the filmmakers really think it was still hip and was doing it as an audio version of product placement.

The film tires to do what it can with the premise that you would think would leave some opportunities for comedy and some originality to a familiar tale. Though it ends up going the more crass and uninspired route. That plays like a teenage sex comedy to a degree. That happens to have the threat of zombies at it’s center.

The film had very few inventive or innovative additions to the genre. Then again this isn’t a film that was made to do that or further cinema. Luckily the film doesn’t make the mistake of trying to incorporate any zombie film homages.

What happens here in this film is that it sounds like the tons of cash-in low budget films that fill the V.O.D. Market that end up making a quick buck out of general wonder if the audience and the late night crowd looming for something generally fun but entertaining. Studios see this and attempt to do the same with a film and title like this and though the film plays up a juvenile attitude and humor it still feels like a safe film that fits more into blockbuster entertainment for the masses. It feels too inside of the joke to really let loose and be the oddball curiosity type film that the title might imply. It lacks a certain explosive zeal the title seems to hint at. In other words, it fakes the funk. Just as when rich kids try to make themselves look of the people or poor. Yet they can afford extravagant things while having no job and their parents pay for everything.

The film is an average time waster that keeps your interest to a degree. Even after the initial appeal has worn off. Rather quickly and the premise plays itself out, to only be another zombie surviving another zombie attack film. That time to time reminds you that the main characters are boy scouts. Though really the film at heart is just a teen comedy with zombies. That typically happens all in one night, which leads to the truth that has an Initial betrayal but leads the main characters to bond and learn lessons whole overcoming their fears and problems.

It seems like the horny character keeps getting piss and blood sprayed on his face as sort of a punishment for his character’s behavior and overall attitude that comes across as a money shot (facial) at least.

The film also offers the violence, Sex, and nudity that a teenage or audience that really looks for that in films. (Which includes a revealing Cameo from an adult movie star Missy Martinez) Which seems to be making a comeback recently. Though this isn’t necessarily a film where you would expect it. Just a lot of talk about it.

The film is easily forgettable, but it interested as long as your hopes aren’t high. You might actually enjoy it. Though if not you definitely can skip it and not really miss anything.

 Grade: D+