What’s funnier, cancer or rape? That’s a trick question; neither is funny. And in the past 24 hours I’ve seen concerns for two Seth Rogen movies because of how they involve these unfunny subjects. Of course, I doubt the cancer comedy Funny People will turn as many people off as much as the date rape joke in Observe and Report.

If you’ve seen the red-band trailer for Observe and Report, you’ve seen the gist of the joke, which has Rogen pause mid-intercourse because he thinks Anna Faris’ character is unconscious. She’s apparently not, though, and scolds the guy for stopping. Yes, it’s black comedy, and yes, it makes sense as a joke in theory. But neither Faris’ seemingly conscious outburst nor the audiences’ laughter make it okay, according to some people who will not be going to see the movie this weekend or ever.

Few blogs are writing about the date rape issue surrounding the movie, but those that are have received a few interesting comments, all of which make me wonder if Observe and Report’s box office could be even slightly hurt by the joke. Certainly there have been successful films featuring total scumbag protagonists (Gran Torino is one example, though its character’s racism isn’t necessarily played for laughs), but does this one really appear to be saying that the scumbaggery is forgiveable in certain situations? After reading Faris’ thoughts, watching Rogen’s apologism and reading the comments below, let us if you’ll also be avoiding the movie as a result of its misogynous humor.

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• In a piece at The House Next Door subtitled “More Valuable Than Sex,” Andrew Johnston talks about the 80s teen movie that taught him that “a real, intimate connection with someone you can turn to in your darkest hour is more valuable than mere sex — a downright subversive notion in an era loaded with movies about hormone-crazed maniacs desperate to lose their virginity by any means necessary.” And what film was this? You’ll have to click through, but here’s a hint: it’s vaguely related to the item below.
  
• Mr. Skin: first the Wikipedia for nudity in Hollywood movies, then a minor plot point in Knocked Up. Now? It’s a blog. The top entry as of this writing: “Who’s the Hottest Wife of Tom Cruise — Mimi Rogers, Nicole Kidman, or Katie Holmes?” I vote Mimi. Via Fleshbot
• Above: a “kiss for the ages” from Frank Borzage’s Desire, via Daniel Kasman.

Resolved: “viral” (I know, I hate the word too) movie marketing peaked with Cloverfield; we are now watching its record-fast decline towards rock bottom as regular marketing guys shove regular campaigns into unimaginative, unconvincingly “alternative” wrappings.

Exhibit A: At Movie Marketing Madness a couple of days ago, Chris Thilk detailed the many ways that Forgetting Sarah Marshall’s campaign rubs him the wrong way. From the no-comments-allowed fake character blog to the billboards and bus ads that wreck any chance of playing as organic interventions by incorporating URLS and MPAA ratings, Chris says, “If this is the best a studio can do in terms of social media then…marketers have no place in this space.”

Exhibit B: Defamer points to this “ad” (maybe a generous assessment for a piece of paper taped to a tree) which takes the Sarah Marshall campaign’s familiar, Sharpie-scripted petulant, turns it away from the title character and towards said tree. I missed the film when it premiered at SXSW, but I have to wonder if this is an effort to fix another problem cited by Thilk, in that the fake blog posts “seem to exist after the events of the movie”––is there a bit in Sarah Marshall about a tree that this could be slyly referring to? Either the studio is responding to such criticism by steering the campaign towards attention-grabbing non-sequitors,  or they’ve been detourned by actual, semi-inventive spontaneity on the part of their annoyed audience.

I’ll leave the discussion up to you, but I will say that it does strike me that worrying about Marshall’s marketing is just a manifestation of total indifference to the movie itself (as Defamer commenter ricker puts it, “I think I’m going to forget to see Sarah Marshall.”) With the Judd Apatow backlash gaining steam with each successive disappointing release, maybe Sarah never had the chance to dodge the increasing taint of lameness bestowed by its brand-name producer. After all, aren’t we about at the point where a new Apatow-associated product is, like, the Destiny Turns on the Radio to Knocked Up’s Pulp Fiction?

• “As a student and fan of special effects and new media,” writes Bob Rehak at Graphic Engine, “I’m struck by the completeness with which the top 10 [grossing films of 2007] encapsulate an evolving mode of high-tech production in serial media.” Those films, of course, include titles like 300, Ratatouille and the latest Harry Potter flick, all of which enjoyed “enormous profitability … in striking contrast to their devalued cultural status.”
• Earlier this morning, I came up with a few reasons why New Line might have bumped Be Kind Rewind by a month. Chris Thilk offers another: it could be because Cloverfield is expected to “march through the box-office like a monster rising from the depths of the sea.”
• At LIBERTAS, Dirty Harry predicts that in calling Knocked Up sexist, Katherine Heigl has irreparably damaged her appeal. “Heigl might’ve thought the quote would help her with the feminist crowd which obviously means so much to her, but the American male who made her a star will only see arrogance, and that’s a turn-off.”
• “Dear Studios,” writes Hacking Netflix. “Stop treating your paying customers like thieves.”

What is the difference between a great comedy and a really funny movie? Is one easily classifiable and the other too subjective? It’s quite possible. Billy Wilder’s Some Like it Hot is considered by many academics and critics to be the best comedy film of all time. I won’t argue, as I’m not an expert on the craft of comedy, but despite the fact that I enjoy the film, it’s not one that makes me laugh much. Meanwhile I’ll fall on the floor laughing at parts of Cabin Boy, which I know is not a well-made movie, and which I don’t even especially like. So, the question is, how does one award comedy?

Every year during the awards season, people talk about how comedies and comedic performances are largely overlooked. I’ve already commented once on the subject, regarding this year’s Golden Globe nominations, but since then I’ve noticed more complaints about overlooked comedies, and in most instances there seems to be a confusion about what it really means to be a great comedy and what is just a funny movie.  Today, the IMDb linked to the Misfortune Cookie Blog and its honoring of “the year’s funniest in film.” The site references Knocked Up and Juno as “comedic achievements” that will go unrecognized (never mind that Juno is a Best Picture Oscar front-runner) yet also makes the point of naming Superbad the “Funniest Movie of the Year” with a disclaimer stating that it is not the “best movie, or best-written, or most likely to change your life.” So, what is the argument? Are you making a point of recognizing under-appreciated comedic genius, or are you just pointing out something that made YOU laugh.

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Here is my follow-up to last month’s question of what mainstream movie will feature on the most top ten movie lists. And the winner is … Ratatouille. Oh wait, didn’t I disqualify that one for being too obvious? No? Well, I should have. Yes, according to Movie City News’ Big Ass Chart (aka Scorecard) of critics’ top tens, the Pixar movie made it on to 51 best-of lists, making it the best-grossing best movie of the year. But maybe it wasn’t the most mainstream, if you define mainstream as studio-produced fare. Under that qualification Zodiac was the best mainstream movie of 2007, having been made jointly by Warner Bros. and Paramount and showing up on 70 best-of lists. Other Warner successes include Michael Clayton, which featured on 54 lists, Sweeney Todd, which received 44 mentions, Harry Potter and the Order of the Phoenix, which showed up on one list, and Letters From Iwo Jima, which showed up a little late on one list.

As far as those mainstream movies I predicted would feature heavily, Knocked Up (34 lists) ended up defeating Superbad (25 lists) — meanwhile, the third Judd Apatow movie of the year, Walk Hard, managed to get on one critic’s list — though both were actually behind The Bourne Ultimatum (28 lists), when it came to “average vote” (average numerical placement on the list). If we’re going by mainstream appeal (and if Karina is correct in her view of the film), then Juno was the best mainstream comedy of the year with 63 lists. Hairspray (13 lists) beat out its crappy musical siblings Across the Universe (7 lists) and Enchanted (8 lists). In addition to showing up on Richard Corliss’ list, Beowulf managed 3 other mentions. And Transformers not only showed up on a top ten list, it featured on 3! Of course, it’s more surprising that Spider-Man 3 made it on 4 lists. The greatest thing to happen, of course, was Manohla Dargis listing The Kingdom as one of her favorites. Joining her is Don Payne. If I had made a top ten list (instead of this thing), the film could very well have beaten Transformers. Oh well, at least nobody put the shocking blockbuster Alvin and the Chipmunks on their list … yet.

Over at Pullquote, the Cinetrix has reminded me of one more movie that fit in with this so-called “Year of the Unplanned Pregnancy” trend: Shoot ‘Em Up. She doesn’t really go into details, though, of how it fits in. So, allow me to elaborate. First off, as far as I recall, the pregnancy isn’t actually unplanned. But no matter, I’m going to have fun with this anyway. So, let’s pretend that Shoot ‘Em Up is a pro-life movie. Despite the fact that the baby in the film is already born, there’s a bad guy trying to kill it. Let’s call him the abortionist (aka the pro-choicer). Then there’s a do-gooder hero who aims to keep the baby alive. Let’s call him the pro-lifer. Guess who wins out in the end? And you thought the movie was just a silly take on the gun control issue. There’s political topics all over the place!

As you can probably tell, I’m being a bit ridiculous. But sometimes it’s important to get absurd when you’re dealing with too many serious people out there, and too many year-end labels and summaries. Yes, there were surprisingly a lot of preggers movies out in 2007 (Waitress, Knocked Up, Juno), but there’s much more to mention than simply lumping those similarly themed movies together and clapping your hands and saying “yeah!” The more significant thing to address is how these movies and others this year provided balanced discussion fodder for the abortion issue. Each of those unplanned pregnancy comedies could be interpreted as being pro-life, yet each could also be interpreted as being pro-choice (don’t forget, choice can also mean choosing not to abort).

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It’s so easy to criticize the Academy Awards’ ignorance of the merits of comedy (even if such criticism is unfounded), but the Golden Globes have rarely been so deserving of scrutiny in their exclusion of the funny business. After all, the Hollywood Foreign Press Association actually has a category for best comedies of the year. Sure, the genre is still considered second fiddle to drama and has to share its category with musicals (which are sometimes musical dramas), but at least we know there’s a place that honors Trading Places, A Fish Called Wanda, Ghostbusters, Back to the Future and Crocodile Dundee as one of its year’s best pictures (thank goodness for the musical-less ’80s!). The problem is, now that the musical genre is back in (near) full force, comedies are not getting as much recognition, even in their own (shared) category.

Following the Globe nominees yesterday, there was a good deal of complaining going on that Knocked Up wasn’t one of the Best Motion Picture Musical or Comedy nominees. At New York magazine’s Vulture blog, they said, “what’s a Comedy award for, if not to reward the best-reviewed and most successful comedy of the year? Apparently, it’s to reward quasi-musicals like Across the Universe, quasi-comedies like Charlie Wilson’s War, or quasi-movies like Hairspray.” Dave Karger at Entertainment Weekly actually thought the “best-reviewed comedy of the year” got snubbed in the best actress and best supporting actor categories, too. And Carpetbagger David Carr points out that if the Best Motion Picture Drama category can have seven films listed, the Musical or Comedy box should get to have two more picks. But would Knocked Up have really gotten one of those two slots?

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While trying unsuccessfully to get over the whole Amy Adams kudos debacle (did you see she’s just been nominated for best actress by the Broadcast Film Critics Association?), I began wondering about year end lists and how many of them feature at least one obligatory mainstream movie. Typically its a funny but highly overrated comedy, like Borat, The 40-Year-Old Virgin or Little Miss Sunshine, sometimes its an action movie, rarely it’s a thriller or well-made horror flick.

So, I’m wondering what will be the most mainstream best movie of 2007, the one that features on the most year-end top ten lists. I’m so far discounting Juno, because it’s still in its little indie darling stage, and not yet a wide-release hit. Instead, I’m counting on either Knocked Up or even Superbad to take the honor. Already I’ve seen, thanks to Movie City News, both movies featured on a list made by a publication called the Georgetown Voice. But while I figured the former had more cred with critics, it’s the latter that has shown up on more lists by itself, including those of Victoria Times‘ Michael D. Reid and Artforum’s T.J. Wilcox.

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• Steven Boone has published an a-ma-zing interview with film critic Armond White. There’s almost too much good stuff here; at one point, White deflates Boone’s theory that digital video has allowed filmmaking to transition from “aristocratic medium…to one where poor people make films.” White says: “Poor people don’t make films. They’ve got other things to do.” Also, check out Boone’s companion piece at The House Next Door: Ten Armond White Quotes That Shook The World.
• “What if this guy got you pregnant? Basically an over aged hippy who ended up with a woman far, far hotter than he could ever have hoped for.” Dennis Kucinich as Seth Rogen’s character from Knocked Up, and other 2008 Presidential Candidates as 2007 Movie Characters.
• David Hudson has the first round of competition titles for the Berlin Film Festival. Included: Errol Morris’ S.O.P.: Standard Operating Procedure, and my favorite English-language film of the year thus far, There Will Be Blood.
• Kate Coe has found a new twist in the Theresa Duncan vs. Scientology story: Apparently, sometime Scientologist Beck told an Italian newspaper that he was starring in Duncan’s Alice in Wonderland-inspired film, years before he told Vanity Fair that he had never even talked to Duncan about being in the project. The VF article theorizes that Beck’s withdrawl from the project led it to fall apart, which led Duncan to the depression that led to her suicide.

From the Biting The Hand That Fed Me $5.7 million and an Emmy Department, a dead horse gets new life:

Katherine Heigl is knocking her summer hit Knocked Up for being “a little sexist.

“It paints the women as shrews, as humorless and uptight, and it paints the men as goofy, fun-loving guys…It was hard for me to love the movie.”

Honestly, I don’t know why I spend so much time defending Knocked Up as not only *not* sexist, but kinda sorta maybe a work of semi-realism. There’s gotta be something wrong with *me*, right? No, I don’t buy the idea that she would have taken him back at the end––I don’t even buy the idea that that guy had the means to up and move into his own apartment, unless there was a scene where he asked Harold Ramis for a loan that we didn’t see. But as I’ve said before, I totally buy the idea that that girl would fall for that guy, and I’m still annoyed by the blase, “but she totally would have gotten an abortion” argument.

I’m comfortable being lonely with my unfashionable opinions. What I don’t get, is this sudden need for realism in regards to a dude com. Was anybody concerned about whether or not Old School could have really happened?

After explaining why Lionsgate declined to screen the film for critics, Armond White begins his review proper of Why Did I Get Married? on contrarian autopilot: “Most critics don’t ‘get’ Tyler Perry basically because most critics are whites who are not only clueless about Perry’s African-American culture, but unsympathetic to his particular expression.” Okay, probably. But isn’t that obvious? I started to wonder if old Armond wasn’t losing his touch.

Oh, but wait! Further down the page, he hits us Whiteys where it really hurts, by attacking sacred dude-com cow Judd Apatow. “Nothing in Knocked Up is as meaningful as Perry’s spectacle of men who must restrain their anger physically or his politically incorrect fashion show of women proudly, luxuriously wearing furs as signs of pleasure and achievement,” White sniffs. It gets better, when White insists that the derogatory terms most commonly used to describe Trapped in the Closet would be better applied to SuperBad. And I could go on. Just read it in full.

• Lions For Lambs, Tom Cruise’s first production as president of United Artists, will open AFI Fest in November. The film, which “explores issues surrounding the war in Afghanistan,”  is Robert Redford’s first as director since The Legend of Bagger Vance. Redford, Cruise, and Meryl Streep star. The project is considered a major test for Cruise and his partner Paula Wagner, who were handed the reigns at the troubled UA after their very public split from Paramount.
• The call sheet alone sounds like something out of Glamorama: Billy Bob Thornton, Kim Basinger, Brandon Routh, and Ashley Olsen have joined the cast of The Informers, which will mark Bret Easton Ellis’ first attempt at adapting his own material for the screen. Ellis wrote the script with Nicholas Jarecki; Gregor Jordan will direct.
• In what Variety says is the cable network’s “biggest programming purchase in its 17-year history,” E! has spent almost $40 million on the network rights to a handful of NBC/Universal titles, including Knocked Up and Evan Almighty.  The former film is the centerpiece of the deal: E! was so anxious to own a film partially shot in its offices that it shelled out for an exclusive 4-year window on the film, meaning no other network will be able to air Knocked Up from 2009-20013.
• Andrew Herwitz’ Film Sales Company has brokered a deal to produce an English-language remake of Live-in Maid. The original is an Argentinian film about a broke socialite who turns to the help for moral support; it opened at Film Forum here in New York last month to packed houses and is set to pop up in nine additional cities in the coming weeks. The original is Film Sales’ first foray into distribution; the remake will be their first try at production.

• Focus Features has accepted an NC-17 rating for Ang Lee’s Lust, Caution, despite the fact that it will seriously hamper the film’s chances of reaching the audience it needs to gain critical mass come Oscar time. According to The Hollywood Reporter, although the film contains no full-frontal male nudity, “male-on-female oral sex, non-S&M restraints and several nontraditional sexual positions are depicted, conveying the aggression and emotional conflict between the main characters.”
• Unfortunately, it looks like DGA members won’t be able to enjoy any of that in the comfort of their own homes. First the Directors Guild of America said studios could send their members award season screeners; then they said they couldn’t; then they said they were planning to say they could, but now they’ve said that they can’t.
• With male and female audiences divided over the equally drecky-looking Scarlett Johansson vehicle The Nanny Diaries, and the Jet Li/Jason Statham fight pic War, Variety says SuperBad has a chance at pulling off another weekend at the top of the box office. In related news, Knocked Up is a huge hit in Australia and Russia.
• Anger Me, a documentary in which former child star/experimental filmmaker/Hollywood Babylon muckraker Kenneth Anger tells stories about his own life for two hours, earns the ultimate backhanded compliment from Variety: “Tech credits are adequate.”