Showing posts with label top comedy movies 2010. Show all posts
Showing posts with label top comedy movies 2010. Show all posts

A Little Help (2010)

A Little Help"What's a cooler way to die, 9/11 or a arrhythmia thing?" Laura (Fischer) and Bob (O'Donnell) have a strained marriage. Bob works all the time and Laura drinks a lot. Their 12 year old son is stuck in the middle but prefers the dad. After an argument leads to Bob's death, Laura is left to figure out how to raise her son and support her family. This is a movie that is very different from the preview. The preview makes it look like a comedy, while there are some funny parts this is more of a drama. That said this is one fantastic movie. Watching each character deal with the situation is great to watch. There are parts that you laugh at that you feel like you shouldn't. This is also one of the best mother-son bonding movies I have ever seen, and there are scenes with her family that will make you mad. The fact that you have these feeling marks the sign of a good movie. This is one of the biggest surprise movies of the year. You expect one thing, it's another, but an absolutely fantastic movie to watch. Overall, an extremely entertaining and enjoyable movie to watch that won't disappoint. I give it an A.

I was hooked by the opening scene of Laura (Jenna Fischer) playing a dental hygienist. She is pretending everything is fine while she complains to her patient that her husband has one lone fault: he uses waxed floss. Clearly her life is not together as she is late picking up her porky 12 year old son Dennis (Daniel Yelsky) from camp while extinguishing the Marlboro Light she gave up a year ago. He clearly prefers dad (Chris O'Donnell) who frequently must work late, to being with his mom.

Jenna drowns her life, which really isn't that bad, into a Budweiser product placement (later replaced by Absolut Vodka) and lies to her mother (Lesley Ann Warren who has aged gracefully) about her life. While sad, it is done in a manner that we must laugh. When Chris dies from an "anxiety" attack brought on by Laura's sudden sexual demand, Laura goes to work the morning of the day of the funeral because it isn't until three o'clock. When Laura is at home, there are times when a dog is barking in the background. It is cleverly symbolic of her tension level.

The movie has some quick dry dark comedy wit:

At the funeral Paul is talking to a woman while opening a bottle of wine:

Paul: This is my second funeral this year, my dad died earlier.

Woman: Oh I'm so sorry.

Paul: Don't be. It was for the best.

Woman: Was he sick?

Paul.: No

Dennis goes to a new school and has the "opportunity to make new friends" as the new fat kid in school. Things don't work out too well until he tells the kids his dad died "in 9-11."

Meanwhile Laura is sent to a lawyer who specializes in medical malpractice lawsuits. Just when you think the movie is going to turn sad and dramatic,like so many indies going down the road of ruin, it doesn't. Even the sad scenes have some dark humor to them.

Jenna Fischer was great. The film boasts a great supporting cast as well as a quirky script with excellent direction. This is what indie production should be.

F-bomb, pathetic sex scene (by design), pot smoking. No nudity.

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Writer/director Michael J. Weithorn, a television sitcom veteran, makes his feature film debut with the slight but likable "A Little Help." In truth, his sitcom origins are pretty apparent as many of the film's situations feel a bit forced for comedic or confrontational value--and yet, the film contains a fair share of charming moments as well. This is one of those small independent endeavors that you will either love if you identify with the characters or be generally underwhelmed by its lack of narrative momentum. I, for my part, enjoyed the movie for its unassuming tone and a bold lead performance by Jenna Fischer. Fischer, best known for "The Office," rarely has a chance to display her acting chops but this is certainly a nice showcase. Despite some of the screenplay's shortcomings, this has to have been a dream part for Fischer who is usually relegated to small or benignly generic supporting roles in feature films. Here she gets to act with a capital "A." And for my money, that is a primary selling point.

Fischer and Chris O'Donnell play a troubled married couple living a typical Long Island existence. When things take a tumultuous turn, Fischer and her son are left to rebuild their lives with the help of her ever-intrusive family. With seasoned vets Leslie Ann Warren and Ron Leibman as her protective (and oftentimes critical) parents and Brooke Smith as a caring (but overbearing) sister, it's a hard road to newly defined independence. Fischer maneuvers through the pratfalls of moving toward maturity and confidence through a series of comedic missteps that seem to be leading her in the right direction. Some of these moments contain genuine emotion, some are lightly amusing, and some are awkwardly strained (come on, does anyone really believe she'd have actively participated in the lie perpetuated at her son's school?). It is the script's unevenness that is perhaps the movie's biggest detriment, but Fischer manages to keep things grounded and on track throughout. In the end, the life lessons might be too understated and barely noticeable to make the journey worthwhile for some viewers--but I didn't mind the film's loose ending.

As I said, I quite liked "A Little Help" despite my intellectual reservations. It is designed to tug at the heartstrings and I was willing to let Fischer and team manipulate my emotions, even in the less-than-real intrusions. While I did love Fischer, the film is NOT a one woman show either. It has some notable work from a trio of actors that are often overlooked or underutilized. Brooke Smith (often misused) is terrific as the put-upon sister--it might be my favorite performance of hers going all the way back to the criminally underrated "Series 7." Rob Benedict (maybe still best known for TV's Felicity), usually playing an oddball or eccentric, gets a sympathetic and well rounded role as Smith's husband who once had a crush on Fischer. And Kim Coates (Prison Break, Sons of Anarchy) scores in a change-of-pace stint as Fischer's aggressive attorney. I appreciated seeing these great actors given a chance to shine! "A Little Help" may be a bit slight for its own good, but I genuinely enjoyed this sleeper. Recommended, but a must-see if you love Fischer. KGHarris, 10/11.

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A Little Help starring Jenna Fischer is a strange but interesting little film. Fischer's performance is what saves this film, she is so believable as Laura, a woman who's husband has died and her son makes up a lie about how his father died to his classmates to impress them. Laura is rough-around-the-edges, she's high-strung, she's neurotic, and can't make sense out of her chaotic life. This film isn't for everyone, no fairytale ending but I did enjoy this film. Who knew Jenna Fischer was such an amazing actress!?

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Other reviews have already covered much more ground than I intend. For those of you, like me, who had an interest in this film based on the preview, this review is for you. I was led to A Little Help by two things: Jenna Fischer and the trailer. Fischer delivered what I expected of her and was a pleasure to watch, but the film didn't come close to delivering on the promise of the trailer. I anticipated a pick-me-up--something heartwarming, if not entirely lighthearted. What I got was a string of agonizing relationships and choices, discordant families, and people full of regret, their flaws on display for the world (and not in a celebratory way). This is a movie about crisis, and while I found it engaging and worth watching, it was also emotionally exhausting.

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Broadway Damage (Blu-ray) (1998)

Broadway DamageI couldn't help but to think of Barbra Streisand as I watched this film. In her best performances, Barbra played the role of the ugly duckling who falls in love with the handsome leading man (Omar Shariff, Robert Redford, Jeff Bridges). This movie follows a similar formula, where Robert is the ugly duckling and Marc is the handsome leading man.

Robert has two dreams: becoming a songwriter and landing Marc. Likewise, Marc also has two dreams: landing a role on Broadway, and finding a handsome boyfriend. In addition to their friendship, Robert and Marc have one thing in common: "girlfriend" Cynthia, who is trying to find a job (one job in particular, that is). Marc and Cynthia decide to share an apartment. One day, while staring out the window of their new apartment, Marc discovers the man of his dreams (a musician with stunning good looks, of course).

Marc explains to Robert the concept of the "Grand Gesture". Its when you swallow your pride, buy flowers or something, and let that special person know you're in love with them. Easy for Marc to say, since he is good looking and popular with the gents. Not so easy for Robert, who gets turned down by the card store cashier. Humiliated, Robert gives up on good-looking boyfriends.

Here is where the story varies from the typical Streisand plot. While ugly-duckling Streisand becomes the beautiful swan by using her voice, her talent or (in the most fictional of plots) a makeover, Robert stays plain old Robert. Can Marc see past Robert's dull exterior? Can Marc see past the musician's beautiful exterior? Will Robert get the courage to do the "Grand Gesture" to Marc?

Those are the questions to be answered in Broadway Damage. By the way, what's with the title? Alhough the movie explains what "broadway damage" is, I'm not sure it was the best choice for the title. Personally, I would have chosen "The Grand Gesture".

Back to Streisand... If you love "The Mirror has Two Faces", you'll love Broadway Damage. If you hated "Mirror", chances are you'll still like Broadway Damage, anyway.

Like a good Broadway show, this film has it all: a great-looking, talented cast; a clever story; memorable music; optimism; and a warm-hearted ending. Michael Shawn Lucas is perfect as Marc, a sweet hunk trying to make it as an actor on Broadway. He goes to audition after audition, suffering rejection after rejection. Hence, Broadway 'damage'. His nerdy but cute song-writing friend Robert (Aaron Williams) harbors a secret passion for him, but hides it because handsome Marc is a perfect 'ten' and, therefore, out of reach. Their companion Cynthia -overweight and over-the-top -is played by Mara Hobel, no stranger to campy films. She played opposite Faye Dunaway as Joan Crawford's daughter in 'Mommie Dearest', one of the great camp classics of all time. The three friends share career problems, relationships, and other personal traumas. They are loveable and a joy to watch. When Robert finally makes his 'grand gesture' to Marc, he does so in a wonderfully witty song (by Cindy Soltoff) which is sweet, bouyant, touching, and tuneful enough for any Broadway show. This is a real hit.

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If you love a good romantic fantasy, you'll probably LOVE this. This film is about reliving those risk-taking moments when first falling in love, and it's ultimately about friends, arguing in favor of love beginning with a strong friendship. There are so few films of this genre (sad we even call this a genre) that have a light-hearted feeling. The script isn't an oscar contender, but that didn't bother me. The characters & performances have their sweetness and humor, and are easy on the eye. All my friends and I loved it (even the cynical ones).

Read Best Reviews of Broadway Damage (Blu-ray) (1998) Here

"Broadway Damage" is the most adorably classic, campy, sassy romantic comedy I've seen in years!

Lead role, Robert (Aaron Williams), is absolutely cute as a button and his witty Broadway-style songwriting will make you blush and smile and get up and sing! Fellow lead, Michael Shawn Lucas, plays the role of Marc, an aspiring (not so successfully) Broadway star. The two are precious in a 'perfect ten' sort of way, and are accompanied by their quirky "fag hag," hilarious, gay-ball-busting best friend Cynthia. I have to admit I'm a softie for this actress, Mara Hobel, who was also a star in "Mommie Dearest" ("No more wire hangers!"). Brilliant. Just campy brilliance.

The production is brilliant, the characters and acting impeccable, and most of all, the climate is over-the-top, Broadway-inspired, campy bliss with the rooting of a classic romantic comedy. Ingenious, this one, and I guarentee it will leave you smiling and wanting more, especially if you're at all exhausted with the consistent formula of gay cinema. Pick this one up; it's charming and zany, and you won't be disappointed!

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"Boy meets boy" is one of the timeless plotlines -since the ancient Greeks at least -and this well-acted romantic comedy adds a number of twists and turns to what could have been standard fare. The showbiz wannabes of the title who lust after, long for, love, lose, and land one another are appealling, and the men are all goodlooking -even the presumably plain Robert, who in the real world would have no trouble attracting another man, even if he did wear a stupid porkpie hat as here. Perhaps that's why the director put the hat on him, to try to disguise how cute he is. The lead hunk, Mark, has a frequent bemused smile that suggests thoughtfulness. He is appalled to learn that casting agents think he "reads light," and it's one of the movie's accomplishments that Michael Shawn Lucas as Mark carries off the combination of masculine appearance, conversation almost devoid of camp, and an unaggressive sensitivity that makes you like him -he's the hunk with a heart of gold, even though he is also clearly a gym bunny for whom climbing a tree is an exotic experience. His elusive "must have item," David, is dark and pretty as a movie mystery man should be. As the Long Island princess, Mara Hobel is good, but her character's main shtick (trying to land a job interview with Tina Brown despite having zero qualifications) is dragged out too long. The resolution of one of the movie's main romantic dilemmas in the last reel feels very artificial and is the only wrong step in this otherwise charming and witty tale.

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What's Your Number? (Ex-tended Edition) (2011)

What's Your Number?If you are wondering why you should see this movie, see the title. The movie played to its strengths and showed Chris Evans sans clothing numerous times, with very little shielding you from his more... important bits. Have you seen those abs? Combined with that face? Om nom nom nom nom.

I'm sorry, was I reviewing a movie? I got a little lost there.

A lot of the reviews I read were criticizing What's Your Number for being predictable, which confused me. It's a romantic comedy. Were you expecting Shakespeare? When I settle down for a rom com, I'm not looking to be shocked by the plot. I'm looking to laugh, root for the main characters, want the main characters to get together, drool over the male lead (and drool I definitely did, have you noticed?) as well as identify with the female one. I was able to do all of that, therefore I walked out of the movie theater content and pleased. I have recommended this movie to others and was very, very happy with it, going by that criteria. When I watch a rom com, I'm not looking to have my life changed, I just want to forget about everything for an hour and whatever minutes.

On that note, Chris Evans and Anna Faris were adorable together and did help me forget life for awhile. Faris was, for me, super relatable and flawless. The two had excellent chemistry and carried what could have been a better script. I have bought this movie and plan on squirreling it away for rainy days when I just want to curl up in bed and eat chocolate and appreciate the male form in all its wonder.

Have I mentioned I really like Chris Evans? And his body/face combo? I might be a little biased. I'll stop gushing and go now.

What's Your Number? is usually compared to Bridesmaids, well it shouldn't. Sure, they star hilarious female actress (Anna Faris & Kristen Wiig), but they shouldn't be compared to each other. What's Your Number? is cheesy and fun, while Bridesmaids is funny, but also has a "serious" tone to it. What's Your Number? is flat-out funny, right-in-your-face predictable, but that's what I expected it to be. I really enjoyed this one and preordered my copy! It's an excellent movie and I could watch it over and over!

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As long as you do not start watching this movie expecting Notting Hill, it is a nice romantic comedy, perfectly predictable but entertaining and enjoyable. Chris Evans is a great co-lead, and although I am usually not a fan of Anna Farris, she was actually watchable in this movie. This is a movie that does not take itself too seriously approach it in the same way and enjoy.

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Heroine in bed with guy she's in a nowhere relationship with. Said heroine quietly simmering over peer's upcoming nuptials. She takes notice of her life and does a reevaluation. Lots of potty humor. I'm going to give the makers of "What's Your Number" the benefit of the doubt because it was released months after "Bridesmaids". But it makes you think whether these are coincidences or conventions of the genre. Regardless, I enjoyed the film immensely. In fairness Anna Faris' Ally is a different character type than Kristen Wiig's Annie. Whereas Ally is bubbly Annie was more neurotic. There is also undeniable chemistry between Faris and Chris Evans. My wife said Faris was married to Evans in real life but she wasn't sure. I have no recall of this film being in theatres but my wife said it was for a moment. I don't know if the "Bridesmaids" factor had an effect on it's lackluster showing at the box office but "What's Your Number" deserves to be judged on it's own merits.

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Totally didn't expect this to be as good of a romantic comedy as it was. Wasn't a huge Anna Farris fan starting out, but thought she was funny, in an over the top kinda way. Anyway, this was really great. A slight "bridesmaid-esque" type twist, but a good movie nonetheless. I'm all warm and fuzzy from a comedy that's a bit more realistic in my opinion.

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Grumpy Old Men (2009)

Grumpy Old MenThis review refers to the Warner Bros VHS of "Grumpy Old Men"..

One "Putz", one "Moron", and an eternal Sex Kitten, melt the Minnesota snows as well as your heart in this too fun flick that reunites the late great comedy team of, Jack Lemmon(the"Putz") and Walter Matthau(the "Moron").

They are neighbors John Gustafson and Max Goldman who have been taking swipes and snipes at each other for over 50 years. The gags and gaglines will have you rolling with laughter, as the curmudgeons' feud heats up snowed-in Minnesota, when the beautiful, free-spirited widowed Ariel(Ann Margret) moves in across the street.They'll do whatever it takes to outdo the other for her affections, but when near tragedy strikes, there is no question of their affection for each other.

Joining in the fun is Burgess Meredith, as the hysterically lecherous father of Lemmon(cover the kids ears when he's in the scene), Darryl Hannah and Kevin Pollack, their kids, who may also realize the feelings they've had for each other since the third grade, the wonderful Ozzie Davis, and the always brillant Buck Henry. It was directed by Donald Petrie, with music by Alan Silvestri.

The laughs don't end here though..as there is an equally funny sequel "Grumpier Old Men", with much of the same cast and the addition of the legendary and gorgeous Sophia Loren.

The VHS has a nice clear picture and is recorded in hi-fi. There's a great soundtrack including a wonderful rendition of "We're Having A Heat Wave" by Ella Fitzgerald. It is in a standard format. I did not see it avaiable with the choice of the theatrical release form, which would have been nice with all that snowy scenery(My only reason for four stars). This a memorable Lemmon/Matthau film and you'll love it in any format though.

We'll always have their wonderful films to make us laugh..have fun with this one....Laurie....P.S. Don't miss the laugh out loud outakes during the credits, stay till the very end!

more fun stuff recommended:

Northern Exposure Seasons 1 4 DVD Bundle

Goin' South

Captain Jack

Being a thirty-something woman, I thought, how could I possibly find a movie about two grumpy old men funny? Turns out, VERY EASILY! If I could give this movie TEN STARS, I would! This has to be my all-time, favorite comedy. Jack Lemmon and Walter Matthau are at it again; creating that perfect "odd-couple" chemistry. This time, the story is set in snowy Minnesota, with Lemmon and Matthau, (two old-time rivals), competing for the attentions of the refreshingly eccentric, yet extremely attractive widow, who has just moved into their neighborhood. The writing in this film is excellent; the actor's comedic timing is pure genius, and the zingers never seem to stop! This movie is a classic! Don't be a putz buy it today!

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Just picked it up today and couldn't wait to view...

The bad news first..

no bonus features...just a trailer. The good news? It is FINALLY in widescreen!! Now...the picture quality is what I was really wondering about. Its tough to judge because I don't know the source material but I think this is as good as they could do and frankly given the age of the actors , too sharp much of the time! I should say that its mostly available light looking and mostly drab and overcast so I think its pretty good as blu-rays go. I paid a bit over $10 and I'm delighted...sure I'd have been happy for some PR interviews the actors did as bonus items but for a crisp and finally Widescreen version of this movie I'm happy. Oh..I didn't bother to review the movie its been done enough....with Lemmon, Matthau, Meredith, Davis and Buck Henry ,not to mention nice support from Hannah and Pollak...at least a minor classic.

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In 1993 Jack Lemmon and Walter Matthau played their best roles in this movie together. This movie, "Grumpy Old Men" is a MASTERPIECE! It's funny, joyfull, and heartwarming. These two were the perfect match for an EXCELLENT movie like this. The plot of the movie is great. The setting of cold and snowy Wabasha, MN was a the perfect setting.

The movie starts out on a snowy morning with two rivaling neighbors John Gustufson (Lemmon) and Max Goldman (Matthau). These two have been at each other's throats since they were kids. They always insult each other like calling each other a putz, a moron, or even a schmuck and other rude names. Whatever the two do they compete against each other to be better. One of those things they compete against is they both ice fish everyday and Max always ends up with more fish than John. So one day after they finish fishing, Max has half a dozen fish and John only has two. So Max of course picks on him and John throws one of his dead fishes into Max's car which causes a terrible stench.

That night John is watching the lottery and Max has the same T.V. remote so while John's watching the numbers Max over in the next window switches the channel. Then John switches it back then Max does it again and again. Finally John finds out it's Max and Max's son Jake (Pollak) opens the window to make him apologize and when Max goes to the window, John sprays his garden hose at him. Will these two ever stop fighting?

Then the rivalry takes another step up when a beautiful new neighbor Ariel (Ann-Margret) moves in and catches the attention of Max and John. Ariel is a lovely, warm-hearted, spirited woman who Max and John start fighting over. Max takes her ice fishing where she catches a 3-foot fish that she actually THROWS BACK before Max can take a picture of it. Then John and Ariel have dinner together and then go snowmobiling together and eventually sleep together. MAX IS FURIOUS!!!

Now Max and John are out fishing and Max is thinking of how to seek revenge. So John is in his shanty when it starts moving. He looks out the window and Max is moving it with his car heading straight for THIN ICE. John jumps out and his shanty is sunk. Of course Max is in his car chanting, "Yeah!" The two finally have a brawl and John is convinced that Max deserves Ariel more than he does because John can't support her because his house is about to be taken away from the IRS.

Will John get her or will Max? This movie is a great comedy everyone can enjoy. It's very touching and loving and is full of laughs. Your comedy collection is not complete without "Grumpy Old Men." This is a 5-Star MASTERPIECE!

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Jack Lemmon and Walter Matthau rank among the greatest on-screen duos of all time, and this movie is a great example of their brilliant chemistry. They're both very capable dramatic actors, and each has an Academy Award as proof, but their signature trademark will always be their comedic ability.

In this movie, Lemmon and Matthau play the roles of John and Max, respectively. John and Max have been next-door neighbors their whole lives, and though they have an extremely hostile love/hate relationship, they remain each other's best friend. Their hostility stems from decades before when John wound up marrying the girl they both loved. Both are now widowers who live alone in their separate houses, and a woman named Ariel (Ann-Margret) moves into the house across the street. Both men are immediately smitten by Ariel, and it leads to a rehashing of the same hostile feelings they once held for each other in their youth.

While the plot may seem like heavy material, it really isn't. The story is presented in a extremely touching yet light-hearted way. Both John and Max are extremely loveable, and the audience is made to feel sorry for them because both are lonely in their old age. The only flaw in this movie is in the plausability of Ariel actually having romantic feelings for either of these two men. She's a relatively young woman and energetic woman, and the fact that she has these two old men fighting for her attention doesn't seem quite believable.

Regardless, this is an excellent movie that I definitely recommend.

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In Bruges (Blu-ray + DVD + Digital Copy) (2008)

In BrugesMartin Mc Donagh's "In Bruges" proves at least one thing once and for all: Colin Farrell is a thoughtful, emotionally open, soon to do very great things on the screen, actor...something that anyone who has seen "Tigerland" and "Home at the End of the World" already knows despite evidence to the contrary: "S.W.A.T," "Alexander," "Miami Vice," etc. etc.

'If I'd grown up on a farm, and was retarded, Bruges might impress me. But I didn't, so it doesn't" says Ray (Farrell) to his fellow hit man, Ken (burly Brendan Gleeson): both sent to Bruges, Belgium to cool off after a bloody hit that unfortunately went woefully wrong.

This is McDonagh's first film as Director/Writer and it is evident that he has a great eye for detail both in the sparkling, smart-*ss dialogue as well as with the stunning visual vocabulary of movies. Bruges is a beautiful city: ancient, redolent of the many lives lived there with its cobblestone streets, masonry buildings and outdoor plazas. As such, staid, old lady of Belgium Bruges stands in vivid contrast to the Irish duo of middle-aged, seen-it-all, supposedly Gay, interested in the sights and history of the city Ken and the emotionally over-wrought, painfully sensitive Ray: nervous, anxious, wanting to party, sporadically breaking out in sobs...literally an open emotional wound desperate for succor, blatantly remorseful, seeking redemption in all the wrong places.

"In Bruges" roils over with goofy, silly dialogue (mostly spoken by Farrell who proves very adept at delivering it in droll, wry, ironic style) and profanity, violent bursts of gunfire, and jokes at the expense of dwarfs and Americans. Screenwriter McDonagh steers his odd couple Irishmen through a series of strange/odd situations in which questions of honor, friendship and mortality are mulled. The older Gleeson also proves to be the grounded one: good at what he does (that is kill people) and able, by his very presence to calm Ray down.

Ralph Fiennes is also on hand here and plays Ray and Ken's boss, a mean-spirited bloke who talks in Michael Caine-Cockney cadences and arrives in Bruges to make sure that a hit, assigned to Ken is carried out without fail.

"In Bruges" shares many of the surface traits of such films as Tarantino's "Pulp Fiction" but, though great as "Pulp Fiction" is, it doesn't have the heart and soul of Mc Donagh's "In Bruges": a film that satisfies the thriller/action genes of us all but also digs very deep below and reveals the true natures of its very conflicted, ultimately very human characters.

How to describe this deceptively simple film is the hardest place to begin. The plot's fairly simple: Two Irish hit-men, Ray (Colin Farrell) and Ken (Brendan Gleeson), are sent to Bruges (in Belgium) to wait out the consequences of an assassination gone terribly awry.

The younger of the two, Ray, is bored and angtsy with the whole place. He's got a guilty conscience, having been the bloke who totally screwed up the hit. Ken, older and more sanguine about the whole matter, is the total opposite. He's enjoying the sights and quiet cadence of the city, seeing it as a brief respite from what he knows is a powder keg about to blow up in both their faces.

Without giving away key plot points (all brilliantly revealed as the beginning of the end begins to play out toward its tragic conclusion), all I can say is WOW! Though I have never been a huge Colin Farrell fan, I found the actor to be an absolute revelation. The man can actually act, excellently conveying Ray's guilty conscience with a manic, twitchy angst that practically sets the screen on fire. When Ray's mistake is finally revealed in all its heartbreaking glory, Farrell manages to portray Ray's guilt and attempt at redemption in a scene that awes as well as chills the viewer. This is definitely an Oscar caliber performance, and one would hope the actor will continue to make such smart choices in future roles. The fact that Farrell gets to use his actual Irish accent is definitely a plus for the character. His Ray is a charming, annoying, childish, totally screwed up nut about to crack.

Gleeson, too, is equally convincing in his quiet, calm portrayal. His Ken, world weary and tried of the whole business of death, nevertheless knows he's got to pull back his shoulders and soldier on--even if it means he has to face the bad end of a gun himself from mob boss, Harry (an excellent Ralph Feinnes channeling an evil more vicious than even Lord Voldemort). Harry's riff on the Uzi he is offered by a gun supplier is hilarious, as is Ray's in run with a racist dwarf, among others as he ambles through Bruges seeking a solace neither drink nor drugs, or even a pretty girl, can offer.

The end for these three men is tragic, but totally fitting. I thoroughly enjoyed In Bruges and watched it several times just to soak in the early subtle clues leading up to Ray's mental meltdown. I admit that I had to watch the film with English subtitles on as I couldn't understand the actor's thick accents, but that wasn't any distraction or detriment.

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Two hit men, Ray (Colin Farrell) and Ken (Brendan Gleeson) are on a sort of makeshift holiday in Bruges, Belgium after a hit gone wrong. While awaiting word from their boss, Harry (Ralph Fiennes), Ken is interested in sightseeing and the history of the place, while Ray couldn't be more unimpressed and can't wait to escape.

After hearing so many wonderful things about this film I was absolutely prepared to be let down. Movies rarely live up to the hype for me, but I am happy to say this one did and then some.

In Bruges had me laughing out loud, hard and repeatedly, as the political incorrectness and the way Ray and Ken play off each other is hilarious. It had me sobbing big ugly girly tears as the emotion that pours from Ray, his guilt, his sadness, is absolutely palpable and heartbreaking. This movie had me gasping at the violence, on the edge of my seat and on an emotional roller coaster from one minute to the next. It was great.

The performances are grand by all three main characters and the supporting cast lends equally wonderful and interesting performances. I found this to be a multi-dimensional and complex film filled with irony, humor, action and sadness. I was really stunned at the power behind Colin Farrell's performance. He goes from a sort of spazzy, funny, slightly inept and combustible sidekick to a sensitive, deeply tortured soul in about 2 seconds and every facet of his character is believable and brilliant.

In Bruges is one of those quotable films with a billion awesome one-liners and moments. This is easily one of my favorite movies this year and definitely upon my list of all time favorites. I loved every fricken minute of it.

5+ stars

Cherise Everhard, August 2008

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Much like a comedian, "In Bruges" is a film that uses humor to mask pain. It tells jokes and we laugh at them, but it's by no means a comedy; the story is deadly serious and at times downright shocking, and we're ultimately left in limbo about what we should and shouldn't find funny. This is actually one of the film's greatest strengths, simply because life itself is often hilarious in the face of tragedy. Writer and director Martin McDonagh seemed to know that all too well, which is good because it made for a unique and surprisingly engaging film. But be aware that not everyone will be this receptive: the subject matter is anything but light; most of the characters inhabit that massive gray area between decency and amorality; the ending is appropriate but definitely unconventional, leaving us unsure as to whether or not everyone got what they deserved.

The film opens with two Irish hitmen--Ray (Colin Farrell) and Ken (Brendan Gleeson)--arriving in Bruges, a Belgian city that's known for being the most preserved medieval village in all of Europe. They were sent there after a job in England went horribly wrong. I won't say what happened, but I will say that Ray is now an emotional wreck, unable to forgive himself for what he has done. Anyway, both men are told to wait in Bruges until further notice. In the meantime, they might as well enjoy a little sightseeing, and indeed, Bruges is a beautiful, picturesque place. While Ken is more than willing to take everything in, Ray behaves like an immature teenager, shooting his mouth off about how awful Bruges is. He even gets into hot water with tourists, especially the American ones--it seems he's still bitter over the Vietnam War and the murder of John Lennon.

But it's much more likely that the past few days have taken their toll on him, with the incident in England weighing heavily on him. His only outlet is beer, cocaine, and ChloĆ« (Clémence Poésy), a young woman working with a film crew. They share a fascinating if odd relationship, him being a hitman on the brink of suicide, her being a drug dealer and occasional robber. It's through her that Ray meets Jimmy (Jordan Prentice), a dwarf acting in the film being shot in Bruges. They, too, share an interesting relationship, not only because both are pent up fountains of anger, but also because of how they express that anger. Here's an example for Jimmy: there's a scene in which he's high on cocaine, ranting about how there will eventually be a race war between the blacks and the whites, and he feels that every ethnicity from the Vietnamese to the Pakistanis will side with the blacks. "What about black midgets and white midgets?" Ray asks. "Yes!" Jimmy emphatically responds. "Now there's a movie!" chuckles Ray, who quickly notices how offensive Ken is finding this conversation.

After a few days, Ken in finally contacted by Harry (Ralph Fiennes), who gives specific instructions that I won't reveal. I will say Harry is probably the film's only evil character, despite the fact that he has strict principles about who and who not to kill. He apparently first saw Bruges when he was only seven years old, and he loved it so much that he wanted both Ken and Ray to experience it. Bruges is like a city in a fairy tale, Harry says, and woe to those who don't feel the same way--one gets the sense that, in his eyes, disliking Bruges is akin to disliking the air we breathe. As irrational as this line of thinking is, Ken goes along with everything Harry says and always obeys. But then the next hit is ordered, and at that point, Ken reconsiders the life he leads and why he leads it. This, in turn, forces Harry to come back to Bruges.

All this paves the way for the final sequences, which are cleverly written to say the least. They serve as brutal counterparts to many earlier scenes, many of which have Ray and Ken discussing the existence of heaven, hell, and purgatory. They also wonder what it means to be a truly good person; Ken feels that he's generally a nice guy, yet he's well aware that he has killed people. He also asserts that, with one exception, his victims were all bad people who deserved to be killed. This begs the question: Where is the line drawn, since justified murder is still murder? Ken and Ray grapple with this, knowing perfectly well that their feelings could mean the difference between life and death.

There's a scene that sees both men in the Basilica of the Holy Blood, which displays a fragment of cloth said to have been soaked with the blood of Jesus Christ. Ken wants to see this cloth while Ray is desperate to leave, and that's an interesting duality since both men are sinners and unsure about what the hereafter has in store for them. Ray believes that hell is an eternity in Bruges, which is the only reason why he doesn't want to die there. Ken eventually believes that his purpose is to send Ray off to find his own purpose. Both have a lot to pay for. Whether or not they actually do pay, I'm not sure; much like the film's overall sense of humor, the ending of "In Bruges" is ambivalent, leaving us in a thick fog. But at the very least, it's a lovely, almost magical fog, much like the one shrouding Bruges every evening.

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Another delightful little British black gangster comedy. Think of: Sexy Biest (w Ben KIngsley). Snatch (w Brad Pitt, Benicio dT ...). Layer Cake (w Daniel Craig). These guys have figured it out. Usually high class actors (here R.Fiennes, who is much more convincing as a bad guy than otherwise, and the quite capable Colin F., who had been a bit overrated for a while, but he really is quite talented).

A basically simple plot (a hit man has screwed up, causing collateral damage; the boss needs to remove him, orders the partner to get it done, which turns out a problem...) runs into obstacles because the protagonists develop unexpected attitudes. Slapstick with guns.

(Disclaimer: let me add that the headline is not my opinion, but a quote from Colin Farrell's character Ray, who thinks that Bruges is a s-hole; I fully disagree with that crass opinion, Bruges is as nice a place as you are likely to find in the whole of Belgium. On Tottenham I am not an expert.)

Barbarella (1968)

BarbarellaYou want classic Sci Fi with visionary special effects and mind-bending themes? Check out STAR WARS or 2001! You want a zero gravity striptease, costumes that fall off at a moment's notice, and a space craft with wall to wall shag carpeting traveling through a lava lamp? BARBARELLA fits the bill! This is the widescreen DVD version with no edits. Although I have heard rumors of a more racy cut somewhere out there, this is not the PG rerelease from the 70s. See the movie Jane Fonda wants you to forget! Too bad because she's sexy, funny, and beautiful here. Groove to the soundtrack of Phil Spector rip-offs, watch in awe as she seduces ... well... everyone in the film (incuding a female tyrant with a horn!). But still, it's pretty tame and innocent fun. I watch this when I want to be in a good mood. It's silly, fluffy fun! A pink bunny if you will.

This film, along with other stunning classics such as "Beyond the Valley of the Dolls," are sure proof that the age of really, really bad yet good films is behind us. Set in the 41st Century, the hypersexual Barbarella goes in search of the evil renegade scientist Duran Duran and manages to stumble across what must be the grooviest planet this side of "Vegas in Space." In her quest to find Duran Duran ("Pardon me, but do you know Duran Duran?"), Barbarella manages to shag half the planet and pique the prurient interest of the evil, yet uber-sensual bisexual queen ("hello, my pretty, pretty"). After demolishing the amazing Orgasmatron and getting herself locked into the queen's funky chamber of dreams, Barbarella saves the day with a bubble of goodness and some help from her blind angel friend Pygor. The unbelievably bad acting in this film is very well counterbalanced by the fabulous Pucciesque fun fur sets and amazing special effects (i.e. Everytime Barbarella has an orgasm her hair instantaneously perms itself!) It's impossible, given our current climate of cynicism, to produce good quality camp like this today. All attempts to reproduce a movie this overwhelmingly bad would just have to fail. Yet, I cannot recommend this film highly enough run, do not walk, to see it.

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Roger Vadim's sexy sci-fi opus starring his then wife Jane Fonda as the outer space adventuress Barbarella opens with the now famous strip-tease scene over the opening credits. Fonda peels out of her space suit accompanied by the sexy sixties pop theme song. She is totally nude but discretely covered here and there by her arm or a letter from the credits. You can still see her breasts anyway. Based on a notorious French comic strip character, this futuristic saga is more of a fetishistic ode by Vadim to Fonda's kittenish sexuality. Through all of her sexual escapades throughout the film, he focuses (like he did with Bardot) on her beauty and body whether nude or clad in skimpy "futuristic" costumes. What stuns me is this got a "PG" on DVD. It's too raunchy for a "PG". Parents should be cautioned before letting their kids see this. Although, older boys will find it a turn on like their fathers did---but it's very campy and a lot of the humor will be lost on today's generation. Still, it's a nice time capsule for what the sixties had going on and Fonda is beautiful.

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I can remember standing in a long line to get in to see this movie back in 1968, the year it was originally released. I was 12 years old, and my dad had dropped off me and my best friend, thinking that we were going to watch another juvenille sci-fi extravaganza, for which I had developed an extreme fondness. It was the dead of winter and there was snow falling, but we perservered, having heard that we would have the opportunity to see Jane Fonda buck naked, and, above all else, we wanted to be the first in our school to lay claim to that dubious achievement. However, the lady in the ticket booth had other ideas. Although we were 12 years old, we looked no older than 9 or 10, which didn't matter anyway, since we needed to be 16 to get into the movie. So, we didn't see "Barbarella", or Jane Fonda's flaunted nudity, and my father had to immediately turn around and make an 18 mile drive back to pick us up in falling snow, with my mom lecturing him, loudly, all the way home about "parental responsibility" and "pornography". And so it was that, 40 years later, give or take, I decided to order "Barbarella" from Amazon and find out what the fuss was all about and why I couldn't get into see this movie back when it first came out.

Well, for starters, there is nudity, for sure, but it's often fleeting and almost demure. There are breasts, a glimpse of buttocks, and...wait...was that what it looked like? Hard to tell and, at this stage, even harder to care. Jane looks good in the title role and she's funny; "Barbarella" may have been the last time that she was allowed to demonstrate any comic ability in a film for almost a decade. Sure, she was sensational in "Klute", perfection in "Julia" and "Coming Home", but she was a lot more fun in "Barbarella".

There's not much plot worth writing about. Barbarella is a sort of agent for the planet Earth, who drifts through the universe correcting wrongs and fighting evildoers. She travels in an outrageous spaceship driven by a computer that talks to her (not unlike HAL in "2001"). The always watchable David Hemmings is on hand as handsome Dildano, with whom she engages in a literal hand-to-hand sex ritual; hirsute Ugo Tognazzi engages her the old-fashioned way, leaving her sated and singing. And John Phillip Law is both blind and blonde as the angel Pygar, who manages to offend the Black Queen (Anita Pallenberg) by rebuffing her sexual advances, proclaiming, "An angel doesn't make love, an angel is love."

It's all very silly and tastefully lewd, on a sophomoric, 60's-era, "Tonight Show" level (and don't get me wrong, I loved Johnny Carson and my dad was the "Tonight Show's" biggest fan). Despite the presence of some very big names of the time, it doesn't add up to much, and a certain degree of tedium creeps in after awhile. Still, the acting is tongue-in-cheek, the sets are wacky and colorful, and there is a sexy innocence about the whole enterprise that strikes me as being very much in context with the times; in that respect, though worlds apart, Antonioni's "Blow Up" has some of that same carefree attitude. Director Roger Vadim (Fonda's then-husband) seems to embrace the spirit of the '60's without ever imbuing his film with much substance.

The quality of this DVD seems variable, for some strange reason. There are scenes where the colors are beautiful and vibrant, and suddenly the scene is transformed into a muddy murk, before the vibrancy just as suddenly returns. It doesn't really interfere with the enjoyment of the film; "Barbarella" is much too slight to be affected by minor color distortions.

Was it worth waiting 40 years to see? For me, the answer is yes, but mainly as a curiosity piece more than anything. It's not great cinema by any means, but it holds a nostalgic place in my mind of a time that is so radically different from the world we're currently living in, as to seem almost inconceivable. "Barbarella" is my own proof that 1968 did, indeed, exist, that it wasn't a beautiful fable where people still had audacious dreams and the courage to pursue their beliefs.

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I remember vividly the first time I saw that film. It was in 1978 and I was only 10 years old. I was trying to find something to watch on television and then, saw the first scene at the beginning where a woman in a space suit strips, ending up completely nude. The scene begins as the space "bubble" on her head gradually lowers, revealing Barbarella's face for the first time. Breathtaking is not strong enough a word. In my opinion, she was the most beautiful creature I had ever seen up until that time and I was instantly hooked.

The combination of the music, which is also a very strong element here, in total harmony with the highly satirical tone not to mention those cheesy sets are all dead-on perfect. Everything was put there to create a world where a highly sensual creature like Barbarella could flourish. Jane really knocked all my senses in terms of feminine beauty in this movie. She looks like some living Barbie doll, with breathtaking features and a gorgeous mane of thick blond hair: the perfect sex kitten always eager and ready for sex.

This is a truly wonderful performance from a great actress. She deliberately plays the character as a "bimbo" while letting the audience in on the joke. Here is this very intelligent woman playing some "nymphet" in the most convincing way possible. She ends up sleeping with practically every man she encounters even though the sex is only suggested through some clever images. And all the while, she lets the audience knows in very subtle ways that she's acting in parody mode. That is probably the most interesting aspect of her performance. Even with simple lines like "Oh", "But that's monstrous!", "That's nice", she succeeds in delivering them completely "straight" with just the right amount of tackiness as if to say "don't take any of this seriously, just have a good time...". There are countless classic lines here and I can admit I know them all by heart.

Roger Vadim who also transformed another former wife "Brigitte Bardot" into a sensation in 1957 with "And God Created Woman", did the same trick some 10 years later with Jane. "Barbarella" is an erotic comedy disguised as a bad sci-fi movie. Everything in it is tacky: the clothes, the sets, the plot, the acting... But the big difference between this and a truly bad movie is that it is tacky "on purpose". Therefore, it becomes a camp movie which defined itself as such before any critic could do it. Roger knew exactly what he was doing and succeded on every front.

I must say it is in my top ten list of my favorite movies of all times. I have seen it at least 50 times over the years and for some reason, the movie easily bears the repeated viewings. Sure, the story might seem quite silly to some but that's beside the point. If you view this on the first level, you will probably find it all quite ridiculous and farfetched to the extreme. But if you look at it closer, you'll realize just how well-conceived it is. I won't tell you about the plot as I feel it has been covered already in previous reviews. The plain fact is that the story mainly serves the purpose of displaying Jane as Barbarella in all her youthful glorious beauty in one skimpy costume after another.

I can not recommend this movie enough. If you like camp movies, you will love this one. And even if you don't usually enjoy fanfares created for no other purpose than to entertain the hell out of us, you can at least bask in Jane Fonda's beauty here seen at the age of 29. Just for the chance to stare at that perfect face and body is worth the price alone.

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Au Pair Girls (1972)

Au Pair GirlsThe Au Pair Girls is somewhat dated but the dialogue is so bad it is entertaining. The girls show off their bodies throughout the film in the most contrived and "innocent ways". One of the Star Au Pair Girls was played by Actress Gabrielle Drake. She played a staring role in the Gerry Anderson TV series UFO as Lt Gay Ellis. Gabrielle Drake bares all in the Au Pair Girls. It is worth a look.

This film falls into the category of a victimless 'guilty pleasure'. Sort of like sneaking in a chocolate bar while you're on a diet. The Au Pair Girls is British exploitation, plain and simple, with a nifty 70's twist. It was a hoot just to see the various fashions and hairstyles that were popular at the time. And a bit of a surprise to see full frontal nudity, considering the year it was released (1972). There's not much of a plot, it basically covers 24 hours in the lives of 4 young women who arrive in England to start their new lives as au pairs.

Your first tip-off that this film isn't exactly a top shelf production happens about 6 minutes into the movie. As the au pair girls are arriving at the agency, a man directs them to an elevator. To the right, a flight of stairs. As German lovely Christa (Nancie Wait) arrives, you can actually see the shadow of a boom microphone on the wall at the top of the stairs. This gaff is made all the more humorous by the fact that only music is heard at this scene, no dialogue.

I got the film basically for one reason: Gabrielle Drake. I had a terrible crush on her as a kid, watching her in the role of Lt. Ellis, one of the purple-haired dolls on the moonbase in the short-lived sci-fi series 'UFO'. She didn't disappoint here, leaving precious little to the imagination. Le Le May, also known as Nan Lee, Le Le Mai and half a dozen other names, is also an eyeful. The Burma-born beauty had the least 'skin time' of the four, but she had more prominent roles in the cheesy Italian schlock films like 'Man From Deep River', and 'Jungle Holocaust'. Nancie Wait looks nice as the German virgin, Christa. The daughter of the couple who she's staying with, Carole, decides to give her a night she'll never forget by introducing the innocent au pair to rock singer Ricky Strange, an obvious, but laughable imitation of Jim Morrison. In the film's only truly emotional and touching scene, after a passionate fling with Ricky, Christa then sees him fall into the arms of his open-minded girlfriend, the aforementioned Carole, for more lovemaking. Christa collapses in tears, realizing that she has just been used and what was supposed to be a 'special night', has been robbed from her forever. The final au pair, played by Astrid Frank, to me, was the least attractive, as a woman and a character in the movie. After watching her, I have a good idea how all the 'dumb blonde' jokes got started. She was just too stupid to be likeable.

All in all, if you like nostalgic 'naughty' films from the silly 70's, this one should fit the bill nicely. Mostly an excuse for a T&A show, but an enjoyable one.

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I remember seeing this at the pictures (having bunked in, because I was too young).

I thought it was very funny at the time and that Gabrielle Drake was stunning.

Well, that sort of 'Mind Your Language' come 'Adventures of ...' humour has dated beyond recollection of anything amusing.

But it was well worth the dosh just to see Gabrielle Drake in all her glory again.

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Silly stuff in the vein of the Carry On series of extended comedy sketches turned into sometimes laborious movies.

And as such, expect stereotypical characters reciting predictable lines in tried, tested and silly situations.

What makes it intriguing is that the film does not shy away from showing flesh atypically, when a 'risqué' situation arises, instead of alluding to the exposed breast, bottom or pussy, it is just shown, sometimes longer than needed. I imagine for it's era, that was unusual.

And also stereotypically, only the girls are treated in that fashion. I don't recall any male nudity.

Why did I watch it? I think our society's hang-ups around sex and nakedness are problematic, and movies that manifest differently are intriguing.

Is this a movie that alters the conversation in this realm? Only in that by not shying away from showing what is taboo and treating it as normal, albeit with dysfunctional on-screen reactions to those situations.

Bottom line: it's silly and naked girls are shown in silly situations, never explicitly.

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Felt like I was back in the 50's watching "Father Knows Best," or "Leave it to Beaver." If you like nostalgia, this movie's for you.

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