Oftentimes a big star will be humbled by a few flops and he/she will take a step back to work on a smaller project or two before making another attempt at something as unnecessarily expensive as Land of the Lost. Is this what’s going on with Will Ferrell, though? According to Variety, he’s signed on to a little comedy called Everything Must Go, a title which could be attributed to his recent bombs, including The Goods: Live Hard, Sell Hard, which he produced and tried to help sell via a much-publicized cameo.
But this is no Winter Passing or Melinda and Melinda. Yes, Everything Must Go is an “indie,” but it still has a budget of $10 million and it’s still a high-profile sitcom sort of movie. I’m sure it will be less goofy than his major studio vehicles, but we’re not looking at one of those cases where a Jim Carrey or Adam Sandler starts doing dramatic roles and acquiring (ultimately unsubstantiated) Oscar buzz. Not that Ferrell doesn’t have it in him.
Still, the only thing Ferrell needs to learn after this past summer is that he should stay away from huge budgets and silly sci-fi concepts and stick with Adam McKay-directed comedies (and the like). No bigger, no smaller. Fortunately, next summer’s The Other Guyswill come along at just the right time to remind us what we like our Will Ferrell movies to be like.
Check out what other film bloggers have to say about Will Ferrell’s seemingly retreating career move after the jump: …Read more
If you need to rest your eyes at any point during the 146 min. comedy epic Funny People, your best bet is to do it early during a sequence in which Adam Sandler’s character has back to back sex with a couple of female fans. The second of these scenes is mildly amusing, but there’s just no need to put the images in your head of either Sandler with a face full of breasts or the actor taking a girl from behind.
There are some actors we don’t need to see in a sex scene, humorous or otherwise, and Adam Sandler is one of them. He’s of a generation of comedic actors who starred in movies where they get the girl but where there’s no need for gratuitous sex and nudity. Unlike most of his successors, including Vince Vaughn, Owen Wilson, Paul Rudd and Dane Cook, he was never a pin-up in addition to being a funnyman. Even if he was better looking than some of his brethren, such as David Spade, Mike Myers, Chris Farley, Rob Schneider.
Still, Adam Sandler isn’t the last male actor we’d want to see in a sex scene. He’s not even in the bottom ten, which we present in a list below: …Read more
Judd Apatow’s Funny People feels like an attempt to graft the writer/director/producer’s patented brand of semi-raunchy character comedy of latent male adolescence on to the template of a certain kind of studio film rarely made today — think 1980s Oscar bait, like Terms of Endearment, The Accidental Tourist or even Beaches: the gently melancholic dramedy in which someone in early middle age is suddenly forced to reconcile their lives. This unlikely hybrid serves as the vehicle for a meta-epic work of autobiography that pays tribute to one of the writer/director’s oldest friends/collaborators, diverges into a love letter to his wife, contrives to get the wife and the friend in bed together, and then drags in Eric Bana to get them out. All the while, Seth Rogen is milling about, mostly as a surrogate for the filmmaker, until he suddenly switches over and starts speaking for the audience — during the film’s draggiest stretch, he is very vocal about not wanting to be there.
If this sounds bizarre, it is. What’s more bizarre is that this mix of personal project-as-product actually succeeds — at least intermittently. Though not formally bifurcated, Funny People practically plays out in two sections (another 80s flashback: it feels like the kind of film that used to come packaged on two VHS tapes). It peaks emotionally at about three-quarters of the way into the first section, makes good on track laid in that scene about a third of the way into the second section, and then rapidly devolves from there into a domestic sitcom that can only resolve itself in a “girls may come and go, but bromance is forever” fade out. The film is so self-referential, so quick to pounce on and twist what the audience thinks it knows about Apatow and his players (from multiple references to Seth Rogen having recently lost a lot of weightto Adam Sandler repeatedly begging Rogen to show him his dick) that to reaffirm the bond between two men this way almost seems like an act of defiance. “Yes,” Apatow seems to be saying. “This is a movie about me, and yes, my primary concern as an artist is platonic male love. So … suck it.”
Fox Searchlight’s latest pop-indie festival pickup, (500) Days of Summer, is promotionally packaged, as is typical for the distributor, with a hip soundtrack featuring multiple songs from The Smiths and Regina Spektor, as well as tunes from Feist, The Doves and the obligatory Simon and Garfunkel. Though heavily dependent on music, the movie is not a musical, yet like other Searchlight releases it has that one moment where the line between non-musical and musical is just barely crossed.
In the past we’ve seen this moment restricted to diegetic circumstances, whether a dance performance or an in-scene duet of a Moldy Peaches song. But this year Searchlight’s titles have been venturing even further, first with the non-diegetic, Bollywood-influenced song and dance in Slumdog Millionaire and now with an equally fantastical sequence in (500) Days, in which Joseph Gordon-Levitt struts about to Hall and Oates’ “You Make My Dreams,” joined by a surplus of extras and an animated bluebird.
Musical numbers in non-musical movies can certainly work, as is evident in Citizen Kane and many David Lynch and Adam Sandler films, but there’s something very forced and cliché about the sequence in (500) Days. Never mind that it seems lifted out of Enchanted, a movie we very much despise, and never mind that we prefer our Zooey Deschanel movies to feature musical interludes performed by the singer-actress herself rather than lip-synced by her costars (director Marc Webb acknowledges the mistake of not including her in the scene); this number is just completely over-the-top and unoriginal.
In response to the scene, we’ve selected five of the worst musical numbers from non-musical films to show what kind of horrible company (500) Days of Summer is in. …Read more
Between the new Vanity Fair spread starring his comedy troupe (which includes his wife) and official word that he’s producing Ghostbusters 3, Judd Apatow is the talk of the Internet today. Eric D. Snider, in a new post at Cinematical that is apparently unrelated to either bits of news, even discusses Apatow’s potential status as this generation’s John Hughes. Considering some bloggers refer to the stars of the Vanity Fair feature as the “Frat Pack,” despite that term’s origins being with another set of actors (though Apatow’s pals do overlap and have been deemed “Junior Varsity” members), there may be weight to Snider’s claim.
Whatever Apatow’s group is called (Vanity Fair simply yet prematurely labels them “Comedy’s New Legends”), their leader is certainly ruling over a large part of Hollywood these days, enough that he’s sure to appropriate more than just the Frat Pack name before he’s done with his reign as King of Comedy. Now that he’s borrowed the talent of Adam Sandler (for this summer’s Funny People) and is about to take charge of even older SNL alum (for the next Ghostbusters flick), what could stop him from hiring Anthony Michael Hall or Shirley Maclaine in order to align himself with even the “Brat Pack” and “Rat Pack,” respectively?
We’ll just have to wait to see how much Apatow will ultimately conquer. So, for the time being, let’s take a look at what the blogosphere is saying about him and his crew today:
Though five new wide releases open on Christmas, Yes Man is expected to do better in its second weekend because the weather will be better and because it’s still a comedy. Of course, two of those five new films are also comedies. Adam Sandler’s Bedtime Stories is expected to be the champ of the long holiday weekend, with Marley & Me coming in second.
If you’re not into laughing, however, either during the holidays or during a recession, let Liz Smith guide you to all the depressing films out this season, including that disappointing movie about suicide from the otherwise “great comic star” Will Smith and that marital angst film that will apparently have you never wanting to take on a serious relationship again.
Clive Owen, who was once thought perfect to play James Bond, has been cast as another international agent in the Colombian drug cartel film Cartagena. I’ve lost count, but this will be at least Owen’s fifth Bond-like role (not counting the look of his character in Croupier).
Is romance dead? David Carr seems to think so, at least in American cinema (both Hollywood and “Indiewood,” as he inclusively clarifies). While celebrating the subway station meet-cute from the beginning of Milk, a scene he claims to be of an increasingly rare sort, Carr states that American filmmakers “can do romantic pathology and entropy, but the kind of love for the ages, a big-movie kind of love? Not so much.”
If you agree with him, blame the back-to-back Best Picture winners Titanic and Shakespeare in Love for feeding us the kind of romance that’s so cheesy it clogs our arteries and gives us a coronary. Left with a burst heart and a lack of quality Nora Ephron movies, most of us have been cynics when it comes to love stories these past ten years. Yet cynics can still be swept off their feet, and American filmmakers have adequately supplied them with new kinds of love for the ages.
Just take a look at these ten films from the past decade. They may be full of cynicism, but they’re also filled with big-movie love, in their own way. If you can’t see the romance, then the problem is with you, not the movies.
As I’ve noted before, it’s easy to assume that Kevin Smith cast Seth Rogen in Zach and Miri Make A Porno in an effort to capture some of the magic dust that makes Judd Apatow’s films so financially successful, while remining the audience that Kevin Smith movies have offered a blend of raunchy comedy and surprisingly traditional romantic resolutions for a decade and a half now. In a post today at Burbanked, Alan Lopuszynski questions whether Adam Sandler is currently starring in Judd Apatow’s Funny People for the inverse reason.
“At first, I figured that Sandler’s interest in working under Apatow as a director was because Sandler was on a downslope of box office returns at this point in his career,” writes Alan Lopuszynski at Burbanked. But then he got out the virtual graph paper, and realised that although Judd Apatow’s films are vastly more appreciated by critics than Sandlers, “the pair’s financial track records are extremely similar” — and when there has been a discrepancy, Sandler’s films have almost always grossed more than Apatow’s.
And so Alan coins a term to explain the collaboration:
Anticipating the worst from Diane English’s new remake of The Women is not just typical low expectations regarding remakes in general. My dread is specifically based on dissatisfaction with remakes and updates of films from the 1930s, arguably the best decade in cinema (it is certainly my favorite). While I may recognize and appreciate some favorable redos, such as DePalma’s Scarface (of which I’ve never really been a fan), Mazursky’s Down and Out in Beverly Hills and the multiple repeats from Hitchcock, I am more often disappointed with attempts to recreate ‘30s classics, even when I approach them with already low standards.
Worst, for me, doesn’t necessarily have to do with the quality of the film alone, especially when related to remakes and updates. The titles and versions I’ve selected are hardly the worst in terms of craft or production value — you’ll note there are no Dracula movies on this list — and a few would almost be acceptable if they were more unique or solitary works.
Earlier this week, I recommended 10 movies for Democrats to watch. So, to balance things out and hopefully show a lack of bias, I’ve now selected 10 recommendations for Republicans, too. This was actually the more difficult task, because there are so many classic films that display conservative values — and in the 1980s alone, I think there were about a billion films promoting relatively right-wing lifestyles and ideas. Therefore, I’ve limited my picks to the last two decades, except for one underrated gem that left me with quite an impression as a boy.
The Dark Knight(2008) Some said Batman is Bush, others said Cheney, but either way this past summer’s superhero blockbuster resonated with certain conservatives who saw the film as something of an argument about — if not apology for — the actions of the current administration. Similarly, this summer’s Hancock and Iron Man have been read as being particularly relative to Republican politics. …Read more
You Don’t Mess with the Zohanopens today, and it’s apparently a terrible waste. Boy, do I miss the days when Adam Sandler played stupid and immature rather than skilled and pretending to be gay. At least then it seemed okay that he was possibly making everyone in the room dumber just for having watched his movie. I guess it’s fair that with everyone else doing man-boy comedy these days Sandler is trying to do something with a hint of a political message, but personally I liked it better when he was the least mannish, most boyish man-boy to hit the screen since Jerry Lewis. Making shampoo and conditioner fight? Comedic genius, in my opinion. Making a modern day Shampoo? Not genius at all.
Looking back at Billy Madison, possibly his least mature but most consistently hilarious feature, it now seems as though Sandler has gone through a My Fair Ladysort of transition. And just as with that musical I prefer Eliza Doolittle with a Cockney accent, with Sandler I prefer the gibberish. I also like when he sings in his movies, as in this other favorite clip from Billy Madison. So here’s an idea: cast Sandler as Eliza’s father, Alfred, in the just-announced film adaptation of the musical. I’d love to hear him sing “Get Me to the Church on Time,” and Mr. Doolittle isn’t meant to be the brightest bulb, either. And yes, before you leave that comment, Sandler is actually old enough to be Keira Knightley’s dad.
Ahhh! Between Adam Sandler pretending to be Israeli and Jack Black pretending to be cute, nobody knows who’s going to win the weekend box office! Will 8 year-olds be able to clear their schedules to see both?!?!?
Serial Andrew Lloyd Webber enabler Cameron Macintosh will co-produce a remake of My Fair Lady, starring Keira Knightley in the Julie Andrews role. Though the producers say they’ll keep the story set in 1912, they’re not only calling it an “update”, but they’re planning on shooting the musical in actual London locations.
F. Gary Gray has landed complete rights to the Marvin Gaye catalog, giving his Gaye biopic a theoretical leg-up on another Gaye biopic, one slated to star Jesse L. Martin, which Variety says will only “focus on the singer’s declining years, because the filmmakers have rights to use songs only from his post-Motown career.” Also, that film though “reportedly skedded to start last month in Europe, has not begun production.”
Two newly announced collaborations are making my birthday a very special one. In one corner we have the casting of Michael Cera in an Edgar Wright film, which seems almost like an intentional gift from a regular SpoutBlog reader. The only thing missing is the news that this film will also feature the Muppets, a plot involving an Objectivist teleporter and a 3-year-old Star Wars fan. The Cera/Wright team-up is titled Scott Pilgrim’s Little Life, and structurally it sounds like Wright’s Shaun of the Dead. Based on Bryan Lee O’Malley’s graphic novel Scott Pilgrim Volume 1: Scott Pilgrim’s Precious Little Life, and scripted by Wright and Michael Bacall (Manic), the story involves a “young slacker” (Cera) who must defeat the evil ex-boyfriends of the girl he loves in order to win her heart. As if Cera couldn’t win any girl’s heart just by doing nothing.
See the video above for the first sorta collaboration between Wright and Cera (and Jonah Hill).
While I’m on the subject of writing about comedy today, and since there aren’t any new trailers to comment on, I figured I’d go back and take another look at You Don’t Mess with the Zohan trailer. When the preview first hit, I decided not to write about it, because I know how difficult it is to write about comedy and I just know that people are apt to disagree with me over Adam Sandler’s career.
As a youngster, I was a huge fan of Sandler and a constant defender of the merits of his comedy. But I think as I’ve grown older, I’ve lost the appreciation for that random and absurdist stuff — I think this somehow coincides with my waning enjoyment of Bunuel. For awhile, I thought it was Sandler who was growing up, doing movies for kids and families and making more efforts to do dramatic roles, but Zohan seems as immature as anything he’s ever done. The problem is, it also seems as simple and formulaic (in a 1980s comedy, there’s always a bad guy to make the third act less funny, Crocodile Dundee/Twins/etc., sort of way) as anything he’s ever done. Say what you will about Billy Madison or Happy Gilmore, but there is some well-crafted, anarchic comedy in there beneath the stupid surface storylines.
We’ve had a bit of trouble getting this episode to go through the iTunes feed, so we hope this re-post will fix the problem. The original post, with episode description and embedded player, is here.
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Though five new wide releases open on Christmas, 
Ahhh! Between Adam Sandler pretending to be Israeli and Jack Black pretending to be cute, nobody knows 
