What Just Happened? (2008)

Director Barry Levinson hasn't had much luck lately after Bandits, which was a good though not anything very noteworthy comedy caper, he had two colossal duds in a rowEnvy and Man of the Yearwhich, despite an otherwise impressive host of films (i.e. Diner, Rainman, Sleepers, even Toys) could have threatened to throw him off track ala Rob Reiner. But in a way What Just Happened was relatable for Levinson, despite it being the stories of Art Linson, semi-famous producer who's had hits and misses throughout his career, and at the same time gave him some ample material for some sardonic, spot-on satire of the industry. It's not the Player, don't get me wrong, but it gives its winks and nods to the egomania, the preciousness of directors and stars, and how personal lives get caught up in the mix without getting too smug with us common moviegoers.

Probably the funniest, as sort of a near running gag, is the latest film that producer Ben (De Niro) is being test-screened for audiences; a rough cut of "Fiercly" starring Sean Penn (who, as with Bruce Willis, plays "Himself" in the film) disturbs the audience because, on top of a bleak end for its hero, a dog is killed on screen (this, for all the wrong reasons, is hysterical funny, if only for the deadpan reaction from DeNiro to the insanely negative response cards). The director, however, a British hipster (brilliantly played by Michael Wincott), doesn't take it lightly that he doesn't have final cut. This brings around what seems like a moment of levity midway... and then back to the start when it comes time for Cannes. On top of this is Willis's 'plot-line' involving a beard he won't shave off. It's almost like a slight reprisal of his part in Four Rooms, only put to a much bigger, aggrandizing maximum. Both of these, much like seeing certain characters in a Christopher Guest movie, elicit laughs anytime they're on screen.

And the rest of the movie is... still very good. Aside from some scenes where Levinson decides to rush things along via the speedy transitions, he provides a style that suits the feel of the material, of Ben trying to balance his personal struggles (an ex-wife he can't totally let go of, and his rebellious teen daughter with a secret) with the eternal BS of getting work done in an industry concerned, a lot more often than not, with the final dollar over artistic integrity. It's not quite reality TV, but it has that unpredictable, on-the-fly hand-held feeling all the same, which is a method much more effective used here than in Man of the Year. And De Niro is also surprisingly good (maybe not a surprise to some, but considering some of his hit-or-miss turns in recent fare), as he doesn't lay too low-key in the part. One can probably see De Niro having studied producers not just Linson himself but othersfor long stretches to get the right steps for each deliberate step in ego-maniacal Hollywood.

So sit back, relax, and enjoy some near classic self-conscious satire on an industry that deserves anything those in it can dish back out.

Since most audiences are not part of the Hollywood system, it's difficult to say how effective "What Just Happened" really is. While it's generally entertaining as a brooding comedy, director Barry Levinson and writer Art Linson (who adapted his own novel) have made film that seems less like a satire and more like a commentary, painting a picture so unflattering that it's likely to frighten aspiring filmmakers. Those of us not in the film industry--myself included--essentially have to take their word for it, and I find that a little problematic. Still, I was intrigued by the story, despite the fact that it meandered a little too much. I also appreciated the film's sense of humor, with industry references that are nicely balanced between the obvious and the subtle. Finally, I was fascinated by Levinson's willingness to poke fun at the very system he's relied on for many years; he, of course, knows more about it than I do, meaning I have no reason to doubt his methods.

The plot is basically a series of interconnecting subplots, each revolving around a fading Hollywood producer named Ben (Robert De Niro), who's saddled with troubled film projects and a chaotic personal life. One of the subplots begins with Ben at a preview screening for a Sean Penn film called "Fiercely." It doesn't go very well; not only is the film too long, it also ends with a dog being shot in the head. The moody British director, Jeremy Brunell (Michael Wincott), defends his decision to include that final scene, claiming that the dog's death is artistic and appropriate given the context of the story. A studio chief working for Ben, Lou Tarnow (Catherine Keener), insists that the ending be changed: "I've lost twenty-five million before," she muses, "and I'll lose twenty-five million again. But if you change the ending, I'll probably lose ten to fifteen million less." Ben goes along with it, knowing that a box office bomb will push him that much closer to the end of his career. Brunell's reaction to this is natural, if a little melodramatic. It will ultimately take a boatload of prescription pills and a break from sobriety for him to even consider reediting "Fiercely."

In another subplot, Ben is set to produce a new film starring Bruce Willis. But there's a problem: Willis has grown a beard, and he's put on some weight. He no longer looks like a leading man. This puts a tremendous amount of pressure on Ben, who knows that the picture will be shut down if Willis doesn't get back in shape. This in turn puts pressure on Willis' agent, Dick Bell (John Turturro), so fearful of his client that he often has severe stomach spasms. Rightly so--Willis is obstinate and downright hostile, pushing over wardrobe racks, knocking down tables, and pounding on doors at the slightest mention of his beard. I have no way of knowing how accurately this represents the real Bruce Willis, but I'll take it as an item of faith that he's playing a caricature of himself. I certainly hope this is the case; in the film, it eventually becomes clear that he's being difficult just for the sake of being difficult. There's really no point to what he's doing other than behaving like a prima donna.

The third subplot focuses on Ben's personal life, which involves two ex-wives, two young children, and an older daughter with problems most can't relate to. It's the weakest subplot because it's the least developed; we only meet his first ex-wife once, and her teenage daughter, Zoe (Kristen Stewart) appears so infrequently that I'm surprised she was included at all. Apparently, she had an encounter with an agent that committed suicide, which is a strange plot device in and of itself. We do, however, get a better idea of Ben's second wife, Kelly (Robin Wright Penn). Despite the fact that she and Ben are divorced, and despite the fact that they have unfinished business, they still have feelings for one another. Both immerse themselves in a special kind of couple's therapy, the kind that will hopefully allow them to separate as civilly as possible. But then Ben finds a man's sock under Kelly's bed, and he suspects it belongs to Scott Solomon (Stanley Tucci), who wrote the Bruce Willis film and is now working on a script that takes place in a flower shop. It seems it doesn't matter to Ben that he and Kelly are divorced; he still doesn't like the idea of her seeing another man.

Inevitably, there comes the climactic scene in which the final cut of "Fiercely" makes its debut at the Cannes Film Festival. Will Jeremy Brunell stick to his guns and release a sure-fire failure, or will he bow to the whims of powerful producers and release a blockbuster? I obviously can't answer that. I can say that the very idea plays into the notion that Hollywood is a shallow industry that cares more about money than it does about art. The joke, of course, comes from the fact that few will see art in a dog getting its brains blown out. Is there a message hiding somewhere in this? I'm really not sure. I've seen a lot of what Hollywood produces, but that doesn't mean I understand how the system works. Ultimately, I can only recommend "What Just Happened" for what it presents on the surface; it's occasionally funny, the performances were decent, and Linson's dialogue was clever. For those of us who aren't in show business, well, we can only hope that Levinson knew what he was doing by making this movie.

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I was surprised at some of the negative reviews here about a film I've seen at least 20 times. Based upon Art Linson's autobiographical book of the same name, the movie does a great job of binding disparate chapters into a cohesive story that while it's in no way fun or pleasant paints a painfully accurate picture of an industry that's full of money and egos. While there are many industry films out there, What Just Happened reveals the money-focused obsession of studios, the narcissism of actors and the pathological dedication of semi-sane directors. And by the way, Michael Wincott's character here and his film 'Fiercely' is really supposed to be David Fincher's Fight Club.

While admittedly it's more accessible to movie bores like me, I think there's enough wit and cleverness in the script to keep the casual viewer engaged. Robert De Niro is excellent as the producer under fire and there's a fine supporting cast of the likes of Stanley Tucci and Sean Pean who play their respective roles perfectly. A tip of the hat goes to Bruce Willis for an excellent self parody as the actor who threatens an entire production because he won't shave his beard. And Catherine Keener is fantastic as the unflinching studio head who will take final cut from a director if the dollar signs add up.

As someone who has flirted with the entertainment industry on various occasions, the bizarre situations posed in the movie strike a chord and remind you that Hollywood is about 10% product and 90% money, power and egos. What Just Happened is clever, insightful and well scripted and certainly worthy of higher praise than it's been receiving.

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I believe this is an amazing movie for people in business to share with spouse and family members who can't really grasp the realities of what happens in the business world. Yes, this movie focuses on self absorbed actors and directors and demanding money, but it mirrors what successful business people navigate through daily. The main charactor always has his eye on getting the job done and has to appease unrealistic and emotional demands with a smile on his face and keep pushing forward. He needs to fix a problem, while balancing all of the parties involved and he pushes forward. I am sure any business person can relate to this and the power of the person who has the vision to see the bigger picture, despite the idiots he has to deal with.

Now this may sound boring by my description, but if you are in a demanding professional position, you should find this movie awesome. This is the first movie I have watched twice since I was a child. If you have a family member who works professionally and you cannot fathom what their life is like, watch this movie and truly put yourself in DeNiro's shoes. DeNiro is the only one aware that unless the job gets done nobody makes any money and the game is over.

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This is a great movie showing the inside of the corrupt and really crazy world of Hollywood. Only De Niro could have made this movie. Nobody can touch him.

The movie follows a producer (Ben) during two weeks before the Cannes festival (we definitely need to pay attention what the Europeans say, because they are more ...distinguished and they definitely have more class than the poor slobs of Americans). He is really on the run and his families (yes he has more than one) are falling apart. He is trying to change the end of a movie that at first doesn't appear to connect with the audience selected to prescreen the movie (reminds me the worthless focus groups that the candidates are using during the elections). All these people participating in the focus groups that supposedly represent the average Joe are selected according to the same (Hollywood) criteria. Therefore they NEVER represent the average Joe. Because it is all about the money!

After seeing this movie I understand why movies like "October Baby", "Touchback", and the soon to come out "Last Ounce of Courage" among others, can only be purchased from WalMart and they are nowhere to be found on Amazon or on Best Buy. When you have a drug addict, degenerate director that insists that blowing the head of a dog is art, then you understand why these people have really short life span and they have to be medicated. Usually, what most directors of Hollywood regard as art and deep philosophy in their movie is usually pure garbage with the exception of few (i.e. Tom Hanks, Steven Spielberg, Clint Eastwood, Francis Ford-Coppola, and Martin Scorsese among others). Because it is all about the money!

Then there is Bruce Willis and his beard as a side story. That is a great satire of the divas in Hollywood that have temper tantrums (Lohan, Hilton etc). Great parody. The scene when everybody waits for him and we see him sideways in the trailer is fantastic. Because it is all about the money!

And finally, there is the therapist. In the movie they appear exactly like they are in real life...totally worthless! Because it is all about the money!

Make sure you watch the extras; there is more to the movie in the extras. Even Kristen Stewart looks good in this movie because ...she is playing herself.

Don't listen to the naysayers. Five stars all the way because of the cast and because it is REAL folks. I guess people who don't like the movie don't like what they see in the mirror. The truth hurts.

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Chasing Amy (Import)

I have a "love-hate" relationship with Romantic Comedies. I really enjoy a decent one and a couple of examples I'd consider "decent" are When Harry Met Sally and While You Were Sleeping. I also recognize that there is probably no other movie genre that is as suitable for "date night": It's where men and women's interests overlap.

Bad Romantic Comedies can be really tedious things, and many of my pet peeves about movies come from this genre. For example, my LEAST favorite romantic comedy cliche is the moment 10 minutes before the end of the movie where our loving couple has THE "big fight" (often over nothing or something completely stupid or forgettable), followed by one of the characters tearing off to the airport just so that the OTHER partner will have the sudden revelation that they've *made a big mistake* and go tearing off for the airport as well usually arriving only moments late. (With an equally cliche-filled smooching reunion that follows minutes later, before the end credits roll.)

But I digress. NONE of these horrid cliche's fill this movie, which is full of almost believable characters and completely believable heartache.

Kevin Smith has now created a half-dozen films, and while I would classify all of them somewhere between "watchable" and "excellent", "Chasing Amy" remains his masterpiece to date.

Holden (Ben Affleck) and Banky (Jason Lee) are 30ish buds-since-High-School who have grown into the guy fantasy job of writing a hit comic book. They get to alternate working on "Bluntman and Chronic" with making personal appearances at fan conventions where they get paid to sign autographs.

At one of these conventions they hook up with another "graphic novelist", Dwight Ewell's Hooper X who is constantly educating Holden and Banky about being black and being gay. Ewell steals all of his scenes because Hooper is a perfect mix of bravado and angst which sufficiently masks his inner conflict for being black and gay.

Hooper introduces our heroes to Alyssa Jones, portrayed in a career-making performance by Joey Lauren Adams. Alyssa is cute, funny, talented, witty and Affleck's Holden falls for her in a big way. He interrupts his usual routine with Banky just to meet up with Alyssa before finding out at the end of the first act that Alyssa is a lesbian.

A moment to discuss the language, themes and realism of the movie. Like the Kevin Smith films that preceded it, Chasing Amy uses language that is frank and honest and uses raw street vernacular to describe many things, in particular sex. I have heard many criticisms about the story contained in Chasing Amy. Joey Lauren Adams doesn't fit lesbian stereotypes, and among those who seem to know, it is ridiculous to consider that a lesbian might be interested in a man even if (perhaps especially if) the man is Ben Affleck. These things must be accepted to follow the movie. Smith makes it easy. In truth, the language and the issue of homosexuality are side issues in what is essentially a truly unique Romantic Comedy.

Like Smith's first feature Clerks (Collector's Series) the central conflict in "Amy" concerns one character's difficulties accepting the "history" of the other romantic interest. To say more would spoil the pleasure you would derive from enjoying the flick yourself, but it has to be stated that Smith's resolution involves heartbreak, plenty of humor, no cliches and no airports.

If you think you might enjoy an honest romantic comedy that includes street language, frank discussions about sex and gay characters, "Chasing Amy" fills the bill exactly.

It's no surprise that this movie was never the box officesuccess that it should have been: this film is much too deep and truthful for average audiences. Kevin Smith provides some incredible insights about people and relationships, but most folks don't want to think when they go to the movies and would much prefer to see pulpy schmaltz about characters overcoming their idiotic superficial differences and living happily ever after.

I won't sum up the movie as other reviewers have done a great job of that here. Two things that I wish to comment on, however: 1) The "F" word is used extensively here, some will say overused, as is explicit sexual dialog. If you're watching with children (despite the R rating), you are hereby warned. 2) This film has two of the most touching and emotional moments I've seen in a contemporary movie: Holden's declaration of love to Alyssa in the car (Affleck's delivery is so honest and true and impassioned that you will practically feel his nervous relief when he finally tells her) and Alyssa's tearful speech when she realizes that she must leave him (this portion of the script is brilliant and Alyssa's deep hard-hitting dialog could only have been written by someone who's been there).

On to the technical aspects of the disc -The audio is absolutely perfect: not too loud, not too soft, the dialog/music/sound effects are all perfectly balanced. This is one of a small handful of DVD's where you can set the volume once and you don't need to constantly adjust it. (DVD producers should take note of this! There's nothing more annoying than having to crank up the volume because the dialog is too soft, only to have the house rattle once the music or sound effects kick in.) The video is a bit grainy at times, something I find very surprising coming from a contemporary Criterion release. This is minor, considering the excellence of the story itself.

The deleted scenes are interesting and funny. The commentary is good, but because it's a group effort, it can get annoying when everyone's trying to speak at once or when they don't stick to the on-screen action. Small doses are recommended for this one. Finally, the outtakes are funny, but too few.

In all, it's rare to see such an intelligent contemporary movie. This is a DVD worth owning.

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The story of this film is a personal one for writer-director Kevin Smith and it's no wonder that it's his best effort to date--a great, warm film about relationships & more obscurely, a reflection on his movie career. A comic book artist named Holden McNeil (Ben Affleck) falls for a Lesbian from his hometown in New Jersey. He's old school in his ways of love & life and happens to mix it up with the more interesting crowd. At the beginning of the picture--a scene that was finally cut--Holden and Banky (Jason Lee), his best friend/roommate, receive a verbal bashing from two comic book store owners who despise their work. Kevin admitted lifting much of that dialogue from a negative review of "Mallrats" (which had studio exec hands all over it and failed I think because it tried to be a comic-book action movie.) "Clerks" (his first movie), "Chasing Amy," & his latest "Dogma" are all down-to-earth, personal movies that are funny, filled with wonderful, inspired dialogue, and unfold more like stage plays than celluloid --he decides on a location to put his characters in and has them talk; it doesn't much matter if they're in a kitchen or at a hockey rink.

There's a scene in "Chasing Amy" when Holden is telling Alyssa (Joey Lauren Adams) he'd "like to get back to doing something more personal like [his] first book." This could just as easily be: "I'd like to get back to doing something more personal like our first movie."

"When are you going to do that?" Asks Alyssa.

"When I have something personal to say."

"Chasing Amy" is that movie. Indeed, Kevin Smith put much of himself into this picture and the result is his funniest, smartest, and most dramatic work. As Holden becomes close friends with Alyssa, Banky feels rejected. He wants him to stop fooling around with Alyssa and "sign off on the whole cartoon thing," but mainly he doesn't want to lose Holden. It's also interesting to note that "Clerks" became an animated series for a short time and it's possible much of the subplot came from Smith's own feelings about selling-out his art for the big bucks (which also can be construed as his decision to make "Mallrats" the way he did). I like the subtle gestures between Banky & Holden and admire their friendship. This is Ben Affleck's best role. He doesn't seem as confident & charming in it as he does in some of his more recent roles. He's goateed and appears to be a little more bulky and chubby in the face--even his voice and his manner of speaking make him seem older. His character is average yet poetic, he makes you believe the conclusions that he comes to, as absurd as they may seem to others. They're are quiet, touching moments between characters with & without words. In a scene that'll never see the light of day, Banky holds Holden in his arms after he comes to a crossroads with Alyssa. I would've like to have seen it. It's just as much a movie about male affection (not necessarily gay either) as it is about being completely in love with a person.

Jason Lee shines--he has a natural gift for comedic timing. In a typical romantic comedy, he'd by the poor schmuck sidekick who gets shunned, but his character is just as crucial to Holden's life as the woman he loves. And as Alyssa, Joey Lauren Adams is full of emotion, spontaneity, and charm.

Smith's camera doesn't move often & the critics tend to knock him for it--who cares? He makes his movies fine and I've always said he's a good voice for the subculture of Generation X intellectual slacker-types. Mainly "Chasing Amy" consists of a series of wonderful moments focusing on the growing relationship between Alyssa and Holden & the deteriorating relationship of Banky and Holden. Then several key scenes of emotional fury that are so well written and acted and reveal so much that it elevates beyond a straight comedy and it becomes entirely Kevin Smith's movie--a perfect expression of being crazy & completely wrecked in love, which Holden undoubtedly is.

Hooper is the voice of reason & wisdom--the gay black man, who, to sell his comic book, "White Hating Coon," pretends to be a militant Black Panther-esque speaker when he's anything but. He seems to understand the three-way situation plainly, but he's also on the outside looking in and when you're in love your mind is a complicated mess.

Wanted or not, Holden also gets "advice from the `hood" when Jay & Silent Bob meet him at a local diner (they're the inspiration for his and Banky's popular comic book, "Bluntman & Chronic"). He gives him guidance in the best way a person can--he tells him a story that echoes his own and hopes he catches a clue--He doesn't. And after a serious examination of his individual relationships with Banky & Alyssa, he suggests something both funny, unexpected and sincere.

I always get the impression that when a director tries to make an enjoyable movie that will be well-received, it usually isn't. It's when they put it all on the line and make a picture altogether theirs that people respond to it. I've seen "Chasing Amy" God-knows-how-many-times now & still every time I sit down to watch it I'm touched, I still smile at some point in nearly every scene, I still get weepy-eyed. I wish every time that I could crawl up on that red coach, go to sleep, and wake up in this world.

With "Chasing Amy," Silent Bob becomes less of a comic book super-hero, and more like I'd imagine Kevin Smith to be in real life, and when the big guy finally opens up, he says what he wants to say perfectly.

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So far in Kevin Smith's film career, "Chasing Amy" is his "Driving Miss Daisy" of movie achievements. He went from sardonic, sophomoric comedy to earthly, emotional realism, putting forth an intensely magnified story of sexuality and the fragile boundaries of love. His writing maturated into a tale well told involving common debate ground for customary issues, the ongoing battle of the sexes and the dire consequences of traversing to the other side of our ironclad gender coalitions.

The ill-fated tale begins with two twenty-somethings working together on their well-renowned comic book "Bluntman and Chronic". Banky Edwards (Jason Lee) and Holden McNeil (Ben Affleck) are lifelong friends, and what better way to spoil their friendship than to bring a woman into the picture. Enter Hooper X, the author of a pro-black comic with a pronounced hedonistic and riotous reputation that belies his true nature: he's as flamboyantly gay as they come. Hooper X is stereotypically but nonetheless hilariously portrayed by talented beau Dwight Ewell. He garners most of the laughs in this film to keep Smith's deeply emotive content from getting too serious. He acquaints a fellow comrade from the gay community to Banky and Holden at a comic book convention, unbeknownst to three of them that this mere introduction is the beginning of a whirlwind of emotional conflict.

The name of the whirlwind is Alyssa Jones, and upon their first meeting, Holden is on a mission to claim her. It's not until he and his wisecracking companion are invited to an outing at a gay bar does Holden realize Alyssa is a bona fide lesbian and his conquest for a breathless fling is shattered. Unfettered by her conspicuous sexual agenda, Alyssa pursues a warm and trusting friendship with Holden, spending time with him over the months, generally palling around and having a good time. After a stretch, Holden recognizes that his feelings for Alyssa are beyond platonic, and this is the point in the movie when everything straight becomes askew (no pun intended).

Banky consistently intercedes, knowledgeable of Holden's threshold of tolerance for relationships. He advises him that his newfound adoration will not have a pretty ending, but Holden and Alyssa are bull-headedly driven by their honest affections and defy the odds, including the coarse rebuff from her once-loyal lesbian clique. Eventually, provided the complicated circumstances and Banky's mistrust for Alyssa's sordid past, their relationship unravels and abruptly ends over a heated argument and a woeful awareness of the impossibility of their happiness.

Smith's writing and direction is in top form in his third installment of young adult films, reprising his references to notorious characters of the past, including Alyssa Jones herself, Brandy Spenning, and the unintended necrophiliac Caitlin Bree. He ties all of his stories together closely, showing us what a small world it really is, especially in New Jersey. It also comes as no surprise that Joey Lauren Adams was entitled to the lead role, being Kevin's girl and all (at the time). She actually proved to be a greater actress than I thought, admidst her nasal screaming and profane dialogue. Jason Lee has gotten better over the years, but it's like he's revisiting his Brody routine with all the endless diatribes he goes on. His character is witty, but Smith is stereotyping his acting ability every step of the way by always making him the sideman. Jason Mewes is much improved here, abating his hyperactive methodology for a more subdued and genuine disposition. Smith even poked fun at his own work by mocking the ridiculous "Snootchy Bootchie" dialect that Mewes popularized. A lot of the actor's lines are Smith's self-effacing humor at work, and they clash perfectly amongst the love and heartbreak of the movie.

Lastly, we have Ben Affleck as the sensitive chap, a warm and welcome presence after the total slimeball he played in Smith's horror of a screenplay "Mallrats". That material was well beneath him, and thank God Smith made it up to him by offering him the part of Holden. Ben is obviously the diamond in the rough here, fine-tuning the level of interest in the audience with his natural-born charisma. Let's face it: this man is gorgeous, a headturner. There's no way you can take your eyes off him, nor ignore that beautiful smile. He was perfect for this part and made a significant connection with male and female viewers. Women will watch this film and wonder, "Where the hell can I find a man like THAT? "

To sum all the parts, this is a very worthwhile film and can touch a lot of people, especially if they've loved and lost for whatever reason at some point in their lives. This is far from cinematic genius and I don't think Smith will ever be capable of creating a masterpiece, but his raw sincerity and whole-hearted approach is meaningful and direct. That alone is enough to help one gain a new or amended perspective of life, love and art.

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I *loved* this movie -it's a warm, joyful, and very funny exploration of love, and the things we choose to hide in order to be loved by the ones we want. Affleck's intelligence, earnestness, and romanticism make Armageddon look like a bad dream, while Joey's the feisty heroine we girls wish we were, and Jason Lee takes a relatively thankless role and turns Banky into a wholly sympathetic, understandable, confused, and lovable loner who's desperate in the face if being displaced by his best friend's first real love affair. (Prediction: One of these days Lee will leave Affleck in the dust.)

It's a great film -wonderfully written and acted, and the characters' declarations of love are surprisingly sweet and literate, and worth going back a track or to on that DVD button for a second viewing.

But the "special edition DVD" is a rank disappointment. Sure, it's loaded with stuff (most of it from the previous Criterion laser release from years ago -ironically, the commentary opens with a loud diss by Smith & co. on the 'fad' of DVD's and how they will quickly fade), but too bad most of it bites.

The Director's Commentary is the biggest surprise -it's awful.

While I drooled at the idea of listening to someone as smart and funny as Smith is commenting on his film, what I got was a barely coherent mumblefest from Smith, Mewes, Affleck, and buddies. (I mean, come on, this from the Smith who once beautifully analyzed "A Man for All Seasons" for the New York Times?) The guys instead spend most of the two hours making noises at one another, and are evidently not even watching the movie they're supposed to be commenting on. The group sounds blitzed, most of the commentary has nothing to do with the film (and Mewes especially is in "Jay" mode, embarrassingly unaware of what's going on onscreen in front of them, a fact Smith and Affleck exploit throughout the commentary).

I love the movie, and don't think anyone should miss it. But I spent the extra bucks on the "special edition" and felt robbed. Don't make the same mistake, and spend the extra bucks on a "special" edition that's frankly not so special. (Until they bother to re-record the commentary on a day when everyone's caffeinated or sober, at least.)

Just my 2 cents. ;-)

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Zeta One (aka The Love Factor): Remastered Edition (1969)

[ZETA ONE (AKA THE LOVE FACTOR) 1969 directed by Michael Cort Widescreen] An early (and somewhat embarrassing) example of late 60's British sexploitation comedies, 'Zeta One' (originally titled 'The Love Factor') serves up a decent portion of softcore nudity, trippy psychedelic scenery, some unintentionally hysterical dialogue, some uncomfortable attempts at real comedy and, unfortunately, very little else. Except for a few beloved Hammer film Euro-lovelies like Valerie Leon, Dawn Addams, Anna Gael, Carole Hawkins and Yutte Stensgaard. And therein lies its worth.

'Zeta One' was based on a short lived European photo-magazine that obsessed (rightfully so) on beautiful models scantily clad in futuristic clothing. At its liveliest, the film contains recreations of kinky photo-shoot favorites like catfights and fetish-fashioned femmes in torture chamber tableau, as well as colorful scenes of 'alien' women discreetly disguised in identical black wigs and thigh-high Carnaby Street fashions. Sounds fantastic, right? I thought so too, having a genetic weakness for 60's fashions and the bountiful babes who wore them. So shoot me, I was wrong. The original Salvation DVD release gave this as a synopsis "A race of topless, large-breasted women from the planet Angvia, in another dimension, come to earth to kidnap women to repopulate their planet". Huh? And how might they procreate, if you don't mind my asking? And would you mind terribly if I watched? See, now there's your problem when you screen flicks like this, these details shouldn't matter, 'cause most men stopped reading right after the "race of large-breasted women" part, and that's how it should be.

The film's first quarter of an hour is a mercilessly motionless card game between Robin Hordon (the wooden male lead of 'When Dinosaurs Ruled the Earth'), playing a poor man's James Bond, and office secretary Yutte Stensgaard as they drink, deliver pages of inconsequential dialogue and make furtive eyes at one other. Despite containing the film's first show of flesh, as they're playing strip-poker, this is pedantic padding at its most painful and just goes on forever. Eventually Hordon narrates flashbacks of some "very extraordinary business" concerning the Angvians, an interstellar race of women who kidnap lovely girls then brainwash them with kaleidoscopic optical effects. One such abductee gets hustled into a car by Angvian women in broad daylight then treated to a guided tour of their futuristic lair, which resembles the set of a children's TV program. Angvian headquarters includes such acid-induced deliriums as the 'Contemplation Room', the 'Self-Revelation Room' and let's not forget the unflappable 'Static Time Area' (as if we could). Where's 'Star Trek' era William Shatner when you need him most? 'Still with me? Frankly, I'm shocked...

The cinematic 'climax' serves as the film's inglorious highlight with stunning starlets as alien women running naked around the British countryside freezing their backsides off while pretending to fire invisible rays from their hands, and trying (in one instance failing) not to break out laughing. Whilst Eurovixen Brigitte Skay managed to drum up a fair amount of publicity for the film photos of her in a revealing space-age bikini earned 'Zeta One' the cover of both Continental Film Review and Cinema X magazine it wasn't until the 1995 video re-release that the film really found an audience, having since gone on to achieve a degree of novelty status due to many of its female cast members (nearly) finding success in Hammer horror and 'Carry On' comedy roles. Not that many of these actresses have fond memories of the production, mind you. Yutte Stensgaard claimed she felt exploited by her then father-in-law/manager who in a surreptitious turn didn't tell her about her nude scenes until she arrived on set, while the late Imogen Hassall was known to joke that a higher force must have been guiding her the day she turned down the role of an Angvian angel. Valerie Leon's sole memory of the production was that one-movie director and screenwriter Michael Cort being a somewhat strange bloke. Then again, if you've seen this film, you've probably guessed that already.

It's as simple as this if you've got a penchant for silly 60's sexploitation films with knock-out babes running rampant topless in pendulum-swinging retro fashions, you'll enjoy it (once). Everybody else needs to avoid this one entirely, or you'll think you got stuck in the 'Static Time Area' indefinitely.

Secret Agent James Word (I guess his word is his bond) has just returned from a mission. He is met by his superior's assistant (his superior is UU (Double-U like an upside down M)). She plays coy and sexy but really just wants the details of his mission. During breaks in apparent intimacy he recounts his tale.

He has been investigating a Major Bourdin who has been have a series of run ins with a mysterious force of women. They are led by Zeta and have the ability to teleport. It is unknown if they are from space, the future or another dimension, but they have set up a colony of women. They add to the colony through kidnaping and brainwashing.

The film appears to have made no attempt at being erotic (check out the strip poker scene as an example) and the plotting is wooden (although some of the actual acting is quite good).

In the end we learn what the secretary is really up to and the final fate of James. I have to say that I enjoyed it more than I thought I would based on the other reviews.

Buy Zeta One (aka The Love Factor): Remastered Edition (1969) Now

No this isn't one of those sleeper great films, and it isn't so bad it's good. The production quality and story line is not very good by 2012 standards. This film is iconic, it represents the 1960's British free love era. Everything about this film screams 1960's Britain.

The idea for this film had to start out with a bunch of guys sitting around thinking about doing a parody of every spy movie made in the 60's, especially Bond and the Avengers. They probably went on to say, how can they show a bunch of women with their clothes off, but not land in peep show land? They accomplished all this. There is no male nudity the first step to landing the peep show rating. There is very little full frontal female nudity, only a few glimpses of no trimming rules of the era. There are tons of women with their tops off. Remember this is the 1960's, so there is nothing artificial and women are a bit more Rubinesque than they are today.

The spy film paradoy, well that is the place where the film falls a bit flat. The film opens when our hero spy meets up with a woman in his bachelor pad. They decide to play strip poker who ever wins gets to do whatever they want. The poker game takes a little too long. Our hero spy loses. For her reward, the girl decides she wants to talk. They end up talking in bed. The film is flashback of him telling his story about the alien women that are trying to take over the earth. Hey, the women live in a planet where there are only women. The girl says, "how boring." Obviously the spy is happy about this.

Oh the story doesn't hold together very well. But I'm sure the story was never meant to be that good, the whole reason for this film is jiggle. And it delivers a lot of jiggle.

As a flashback to the 1960's and an interesting era in Britain, this film is iconic. It delivers a lot of jiggle.

Read Best Reviews of Zeta One (aka The Love Factor): Remastered Edition (1969) Here

I paid special attention to the end credits of this film, fully expecting to see a formal apology by everyone associated with the making of this indescribably bad film. It is bad enough that this film was actually made, but now a company called Salvation has made this one of the first two releases of its Jezebel lineup of DVDs. Don't let the presence of scantily clad and topless women fool you Zeta One is an abysmal film. I don't know who the looker on the box cover is no one this attractive can be found in the film. This 1969 British film is supposedly kitschy, whatever that really means; from what I can tell, it means embarrassingly ridiculous.

If you read the summary of the film, you will be wondering if you were sent the wrong movie as you watch the opening third of the movie. This may be the most boring twenty-five minutes ever caught on film; even the big strip poker scene is mind-numbingly tedious. Worst of all, we have to spend so much time with the film's main character James Word. I would not even insult James Bond by calling James Word a poor spoof of the man. Word is a spy of some sort who spends most of his time in bed. This is made possible by strange women who magically appear in his apartment from out of the blue. Girl number one is his boss' secretary, which allows her to see through Worth's "brilliant" fake moustache disguise; she pumps him for information about his latest mission, but he has other things on his mind. Did I mention the fact that Worth is a pitiful, rather slimy specimen of manhood? Anyway, Worth eventually opens up and tells girl number one this incredible story about a race of superwomen and the master criminal who tried to conquer them.

Yes, a Major Bourdon and his bespectacled dweeb of an assistant Mr. Swyne have learned of the existence of a race of superwomen who live well, no one really knows where they live; we do know they kidnap selected Earth women in order to brainwash them and make them a part of their female-only society. Major Bourdon is determined to get to the bottom of this for some reason that is never explained. Luckily for him, the Zeta women (Zeta is the name of their leader; I could never understand the name they were given in the film) all dress in identical mini-dresses and go-go boots, making it easy to follow them. (The mini-dresses and go-go boots are pretty much all this film has going for it.) Swyne learns that a certain stripper (actually, none other than the "Queen of the G-strings") is to be the next kidnapped girl, and Bourdon puts his plan in motion of discovering how (and where) to conquer these alien women. It all goes downhill from here. I won't describe the silly information we learn about the mysterious Amazon-like women's society or Word's proclivity for bedding every strange woman that appears from out of nowhere in his bedroom. Word does finally drag himself out of bed toward the end of the film, but he soon returns to the only place he seems to care about. Don't worry too much about the alien women; they have a Plan 69 for anything, it seems. You won't believe the weapon these girls use on silly human men, but you will see the absolutely predictable ending coming from a mile away.

Truly, Zeta One (aka Alien Women) is one of the most ridiculous films I have ever seen. You can have a lot of fun with this film if you make a big party out of it and settle in with a bunch of friends to watch what is the ultimate embodiment of cinematic silliness; apparently, this film exists only for the purpose of being laughed at. Keep a special eye out for the big and absolutely ridiculous "elevator" scene.

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Don't watch! This movie was very slow very uninteresting no plot and was a total waste of time and money

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Meet the Parents (Blu-ray + DVD) (2000)

I wasn't really sure what to expect with Robert De Niro in a more comedic role and the so-so reviews of Meet the Parents. Well, let me be the first to tell you that all theses reviews were wrong and De Niro shined in his role as the father. The toilet humor of There's Something About Mary is still present in Meet the Parents--I won't give any of it away since the shock factor is what makes these scenes so hilarious. Ben Stiller is wonderful as Gregory, the misguided yet well-intentioned boyfriend of Jack's daughter. This movie had so many well placed comic moments that I never really stopped laughing. Robert De Niro and Ben Stiller make such a great pair because of the fact that they are such polar opposites. De Niro's paranoia feeds Stiller's own paranoia and makes for a lot of awkward but humorous confrontations. Their misunderstandings range from the hidden meaning of "Puff the Magic Dragon" to premarital relations. Mixed in somewhere within the gags and the shock humor is a nice romance story that is somewhat generic but never overshadows Stiller and De Niro's relationship. Meet the Parents is one of the funniest movies I have seen in a long time and I implore you to see it.

This review refers to the VHS edition(Universal) of "Meet the Parents"......

You may not think your in-laws are really so bad after seeing what poor Greg Focker has to go through with his future family. Yes you read right, his name is Greg Focker and he's about to spend the weekend with the parents of the girl he intends to marry. Pam's dad, Jack Byrnes, really loves his daughters, and any man who wants to share their lives better be up to his standards. He's an ex-CIA agent who will scrutinize your every move and you better like his cat as well.What will it take for Greg to win the hand of the girl he loves..and does he really want to be a part of this crazy family after all? It's laugh out loud stuff as every move he makes turns into a hysterical series of events that has Pam's family turning against him.

Who else could be the over protective,over bearing,over analyzing, prospective father-in-law than than Mr. Tough Guy himeslef..Robert De Niro. His straight faced comic timing is just one more side of this very talented actor. Ben Stiller is a laugh a minute as he tries to please this unpleasable Dad.

The rest of the cast is nicely rounded out by Blythe Danner,Teri Polo,James Rebhorn and the fabulous Owen Wilson. Director Jay Roach brings this terrifc ensemble together beautifully and the music by Randy Newman adds more fun to the story.It's one of those great comedies that is still funny with repeated viewings.

The VHS is in Stereo surround, sounds great,has closed captions, and has a nice picture as well.

So kick back,enjoy the film, but..be careful not to let the cat out!.....have fun with this great addition to you comedy or De Niro collection.....Laurie

Buy Meet the Parents (Blu-ray + DVD) (2000) Now

In a year filled with less-than-par movies (especially those in the comedic genre) this was a breath of fresh air. I haven't heard a theatre audience laugh harder since 1995 when I watched "Dumb & Dumber". This is a similar comedy with a little more sense and a little less slapstick.

Greg Focker is a nurse who, before asking his girlfriend to marry him, must visit her parents and o.k. it with them. Things seem to be going well enough when he picks up the wrong bag at the airport, causing the oncoming hell that is 'Meeting the parents'.

Robert DeNiro stars as the father, an ex CIA agent who keeps a very close eye on Focker, and doesn't like what he sees. He mistakes him for a pot smoking, test-cheating, porno-watching liar who isn't fit for his daughter. At the comedic climax of the film, DeNiro even gives Focker a polygraph test.

In the end, sides aching, this film left me more satisfied than I'd been walking out of a theatre in a LONG time. Although comedies typically don't get oscar nods, this one is certainly deserving.

Lets pray for a "Meet The Parents, The Sequel" to save us from future movie boredom.

Read Best Reviews of Meet the Parents (Blu-ray + DVD) (2000) Here

You don't need a lot of words to describe a movie this funny. I really didn't stop laughing from the very first minute of the movie. I admit that I have been disappointed by Stiller movies in the past, like "There's Something About Mary" and "Mystery Men". I didn't hate them, but I didn't really want to watch them over again after seeing them.

Ben and Deniro are both brillant together in this movie. They are both from completely different planets as far as comedic prowess and that makes them work great against each others characters. The play on Focker's name is just so hilarious. It's a great movie, I could watch it over and over again.

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My husband & I actually went to see this movie the week before he was going to ask my father for my hand in marriage thank God he already knew my family, or I think this movie may have scared him off!!!

I have to say that we laughed SO hard during this movie that our cheeks hurt! And, everyone else in the theater was laughing hysterically too. In fact, when it was over, everyone in the theater stood up and clapped I've only seen a standing ovation in a movie theater twice in my life!

"Meet the Parents" is a romantic comedy about about an awkward guy who is ready to ask his girlfriend to marry him. However, just as he's ready to pop the question, he finds out that her sister's boyfriend had just asked her father for her hand in marriage (and his girlfriend makes it clear that she thinks that this is the way it should be)so now, he not only has to meet her parents, he has to look good enough in their eyes so that they'll say yes to his proposal.

Well, he winds up becoming even more awkward telling lies just to look better than he his, and always in such a way that ANYONE could tell he's not on the up & up. To boot, her father is a CIA agent, so of course he can see right through his shinanagins (did I spell that right???). This is hysterical in & of itself, but then the physical comedy comes to play (think Jack Tripper of "Threes Company")... Put together, this movie just couldn't be funnier!!!

If you're looking for a great romantic comedy, & want to laugh until your cheeks hurt, then I HIGHLY recommend this movie!

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Father of Invention (2010)

I can imagine the pitch session for Trent Cooper's satire "Father of Invention," and I'm willing to bet it was quite good. I have no doubt that you could cobble the ideas behind the film into a gut-busting parody on the age of infomercials. It's such a fantastic target as that industry exists almost solely on parodying itself. Sadly, though, the cleverness that you might expect going after such a rich and comical topic is not mined with very much efficiency in this film's screenplay. As Kevin Spacey kicks off the movie introducing some delightfully silly products, I thought we had a winner. But then the movie instantly takes you away from its funniest moments to set up a premise that I didn't believe for even one second. That's okay, though, I decided to go with the flow and see what kind of zany comic antics were in store. For my taste, though, the slapstick shenanigans and kicks to the groin didn't rate many laughs. There is a talented cast at work here: Kevin Spacey, Virginia Madsen, Heather Graham, Johnny Knoxville, Craig Robinson, and Camilla Belle. Sadly, however, the film is wildly uneven with obvious jokes and physical humor that fall flat and scenarios that don't make a lot of sense and/or aren't particularly amusing.

Spacey plays Robert Axle, a fabricator (not an inventor, but someone who puts two existing ideas together to make an even better product). Wildly successful, one of his triumphs ends up mutilating the consumers that have bought the item. The film asks us to believe that Spacey (a multi-millionaire) went to prison for eight years because of this and that his wife (Madsen) was allowed to keep half of his fortune untouched by lawsuits. Neither half of the preceding sentence was believable to me, but as it was the film's premise established in the first five minutes--I had to go with it. Apparently Spacey's corporate mismanagement was enough to have him treated like a hardened criminal and he is completely ostracized in the outside world. Still hoping for a clever comedy about how he gets back into the game, we are treated instead to a more lackluster story line of him trying to reconnect with his daughter (Belle). Of course, the movie is rife with wacky characters each more sketchily drawn than the last. When the screenplay is at a loss about how to get its next laugh (and they are few and far between), it goes for a cheap shot (aforementioned kicks to the groin, lesbian humor, slapstick pratfalls) that oftentimes have nothing to do with advancing the plot.

Eventually, the movie does get Spacey back into the business (with Knoxville as his partner in another turn of events that makes little sense). Finally hoping for some hard edged satire, the movie then wants to go soft and play out as a relationship drama. What has Spacey learned about his evil ways? And is it too late to reconnect with his daughter? At a launch party for a new idea, Spacey gives the most awkward, unprofessional and baffling speech imaginable that would absolutely be disastrous for his business partners, but (this being a movie) the crowd is rapturously enthused. Who says you can't have it all? Not funny enough by half already, any good will you might have goes south with these "lesson learned" moments.

Spacey does his best, it's nice to see him in a change-of-pace role. Knoxville in underutilized and underwriten. Madsen and especially Robinson (he's the only one I actually liked as a character) fare the best in terms of bringing a few laughs. Graham, a likable actress, is stranded in the piece's most obnoxious role. Seriously, I like all of these actors but the screenplay lets everyone down. I guess I'm still waiting for the great infomercial satire that I had hoped this would provide. Clumsy and unfunny, this takes a good idea and wants to be something for everyone when it should have attempted a scathing and hard-edged wit that befits its subject matter. A curious misfire recommended only if you are a passionate fan of one of the actors. KGHarris, 10/11.

The whole premise had me scratching my head. Corporate executives do not go to prison due to liability on their products even if they deliberately produce a product that will harm people. Ford Motor company proved that with their exploding Pinto. So now Kevin Spacey spends 8 years in prison and his family never comes to see him? Once you get past that...and I never really did, we end up with a movie that has some good scenes connected by a bad plot.

I didn't like Heather Graham defining herself as a lesbian to strangers. That was so unreal and not funny. The negative relationships and feelings that were rampant against Kevin Spacey, was not believable. Kevin played a guy whose only fault was that he enjoyed his work. If you want a somewhat feel good comedy without f-bombs, sex, or nudity this one might fill in...but don't think too hard about it.

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Customer review from the Amazon Vine Program Failing to realize its potential as an infomercial satire, "Father of Invention" (2010) takes the predictably limp comedy-drama route. Kevin Spacey and a good supporting cast receive no help from writer-director Trent Cooper's unimaginative approach. The 93-minute running time feels like an eternity.

Read Best Reviews of Father of Invention (2010) Here

"Haven't you ruined enough peoples lives?" Robert Axel (Spacey) is the world's greatest "fabricator". Combining two ideas into one new one makes him millions. When one idea, the "ab-clicker" (an ab machine/TV remote) breaks peoples fingers he is found liable and is sent to prison. After serving 8 years he is released and moves in with his daughter and two roommates. Kevin Spacey has started to make a living playing offbeat, somewhat eccentric characters that have to build themselves back up. While this performance is not quite as good as "Casino Jack" it is still very good, and the movie is too. A very funny and enjoyable movie to watch. While not very original it is still very entertaining and Spacey's interaction with the other characters is what makes the movie. The supporting cast which includes Heather Graham, Johnny Knoxville and Craig Robinson are great and while the movie is a rehash of many other movies the acting and dialog make this well worth watching. Overall, a very entertaining movie that is only that way because of the cast. I give it a B.

Would I watch again? I don't know if I would.

*Also try Casino Jack & Extract

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I can imagine the pitch session for Trent Cooper's satire "Father of Invention," and I'm willing to bet it was quite good. I have no doubt that you could cobble the ideas behind the film into a gut-busting parody on the age of infomercials. It's such a fantastic target as that industry exists almost solely on parodying itself. Sadly, though, the cleverness that you might expect going after such a rich and comical topic is not mined with very much efficiency in this film's screenplay. As Kevin Spacey kicks off the movie introducing some delightfully silly products, I thought we had a winner. But then the movie instantly takes you away from its funniest moments to set up a premise that I didn't believe for even one second. That's okay, though, I decided to go with the flow and see what kind of zany comic antics were in store. For my taste, though, the slapstick shenanigans and kicks to the groin didn't rate many laughs. There is a talented cast at work here: Kevin Spacey, Virginia Madsen, Heather Graham, Johnny Knoxville, Craig Robinson, and Camilla Belle. Sadly, however, the film is wildly uneven with obvious jokes and physical humor that fall flat and scenarios that don't make a lot of sense and/or aren't particularly amusing.

Spacey plays Robert Axle, a fabricator (not an inventor, but someone who puts two existing ideas together to make an even better product). Wildly successful, one of his triumphs ends up mutilating the consumers that have bought the item. The film asks us to believe that Spacey (a multi-millionaire) went to prison for eight years because of this and that his wife (Madsen) was allowed to keep half of his fortune untouched by lawsuits. Neither half of the preceding sentence was believable to me, but as it was the film's premise established in the first five minutes--I had to go with it. Apparently Spacey's corporate mismanagement was enough to have him treated like a hardened criminal and he is completely ostracized in the outside world. Still hoping for a clever comedy about how he gets back into the game, we are treated instead to a more lackluster story line of him trying to reconnect with his daughter (Belle). Of course, the movie is rife with wacky characters each more sketchily drawn than the last. When the screenplay is at a loss about how to get its next laugh (and they are few and far between), it goes for a cheap shot (aforementioned kicks to the groin, lesbian humor, slapstick pratfalls) that oftentimes have nothing to do with advancing the plot.

Eventually, the movie does get Spacey back into the business (with Knoxville as his partner in another turn of events that makes little sense). Finally hoping for some hard edged satire, the movie then wants to go soft and play out as a relationship drama. What has Spacey learned about his evil ways? And is it too late to reconnect with his daughter? At a launch party for a new idea, Spacey gives the most awkward, unprofessional and baffling speech imaginable that would absolutely be disastrous for his business partners, but (this being a movie) the crowd is rapturously enthused. Who says you can't have it all? Not funny enough by half already, any good will you might have goes south with these "lesson learned" moments.

Spacey does his best, it's nice to see him in a change-of-pace role. Knoxville in underutilized and underwriten. Madsen and especially Robinson (he's the only one I actually liked as a character) fare the best in terms of bringing a few laughs. Graham, a likable actress, is stranded in the piece's most obnoxious role. Seriously, I like all of these actors but the screenplay lets everyone down. I guess I'm still waiting for the great infomercial satire that I had hoped this would provide. Clumsy and unfunny, this takes a good idea and wants to be something for everyone when it should have attempted a scathing and hard-edged wit that befits its subject matter. A curious misfire recommended only if you are a passionate fan of one of the actors. KGHarris, 10/11.

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