Comedy

As the name suggests, this is a collection of ten movies on LGBT themes. In chronological order, here's what we have:

The Children's Hour (1961): Shirley MacLaine and Audrey Hepburn are the headmistresses of a girl's school, and their lives are turned upside down when one ghastly little child accuses them of being romantically involved. It is clear, though, the MacLaine would very much like to be. This was director William Wyler's second stab at adapting Lilllian Hellman's play, and this time was able actually to deal with the play's central issue, rather than disguise it as he had to

Several years ago comedian Doug Benson made a joke about wanting to parody the film Super Size Me, after watching it while high, by smoking pot continuously for 30 days. A filmmaker heard that joke and decided to make it a reality. Upon making the film, there was an added catch to Benson's plan of 30 days being “Super High,” as he would have to be stone sober for the 30 days leading up to it.

Raquel (Catalina Saavedra) has been the maid for the family run by matriarch Pilar (Claudia Celedón) for 23 years. Those years have taken their toll, and Raquel looks worn far beyond her 41 years. She is clearly unable to look after the household on her own, and Pilar tries to hire another maid to help out. Raquel takes this the wrong way, imagines she's being eased out, and treats each new maid as an invader who must be repulsed.

Saavedra is extraordinary in the title role, her exhausted, pained, but determined look invoking a sullen bulldog who is on the verge of going feral. But this is not the story of a maid's psychotic break, nor is it one where the family she works for is made up of monsters. Everyone in the film is very human, and the story is a very human comedy. The comedy is not of the slapstick nature (though there are some pretty physical moments), but rather grows out of the finely observed characters, and is shot though with genuine drama. A find, deeply sympathetic piece.

This was Lucille Ball’s follow-up to I Love Lucy. Here Ball is a widowed mother of two, sharing her home with best friend Vivian Vance, who is a divorced mother of one. All the other members of household are, of course, faced with the disasters triggered by Lucy. I screened this set immediately after viewing its close contemporary, Petticoat Junction, and the difference between the two was instructive. There are plenty of hokey gags and situations on The Lucy Show, but there is an enormous difference between the shows, thanks to the comic genius of Lucille Ball. Her energy fills each episode, her timing is spot-on, but there is also her commitment to a type of physical comedy that to this day remains pretty much the exclusive domain of male performers. Not only does she make this style her own, she grounds it in a female reality. There is a reason she was so beloved a performer, and why her work still stands up today.

The second season offers up even more laughs. While the show was filmed in color, the episodes still aired originally in black and white. Here they are in full color on this 4-disc collection. Some highlights of the season include: What could go wrong when Lucy and Viv start their own children's party business? Watch Kiddie Parties, Inc. and find out. Gale Gordon joins the cast as Lucy's new nemesis Mr. Mooney in the two part episode Lucy Gets Locked In The Vault. Mr. Mooney would go on to be the perfect foil for Lucy, and this is the genesis of the show most of us remember to this very day. In Lucy And The Bank Scandal, Lucy is convinced that Mr. Mooney has stolen ten grand and has buried it in his own back yard. Now the girls grab some shovels to recover the missing dough. Lucy and Viv have their sights set on the same guy and enroll in an art class to impress the man. But, when Viv lands a date, Lucy's going to make sure things don't go so well in Lucy Goes To Art Class. In the two-part shows Lucy Teaches Ethel Merman To Sing and Ethel Merman And The Boy Scout Show, guest star Merman shows why she was the queen of Broadway for so long. It's one of the show's most famous classic moments. Lucy takes Mooney to court to shut up his barking dog in Lucy Is Her Own Lawyer. Lucy and Viv are baking contest rivals in Lucy Enters A Baking Contest. The all out food fight will remind you of those old Three Stooges gags.

In an attempt to win over more of the male viewers into their audiences, filmmakers of the romantic comedy genre have tried many tactics. To date, very few of them have worked to any great extent. The problem appears to be getting the mixture just right. Too much of the guy stuff and you'll turn away your core "chick" audience. Too little and you're really not reeling in too many guys. Of course, we go anyway to please the ladies in our lives. Just between us, I once found myself at a Barry Manilow concert for a girl. Yes, I'm trying to get some help for that. We'll go. That doesn't mean we have to enjoy ourselves. Hopefully, it's just enough that we go,because no matter how much it tries to be a guy flick, The Bounty Hunter might as well have a neon sign hanging from the marquee that says "Ladies Only, Please".

Nicole (Aniston) is a reporter who is onto a big story, or at least it could be. She thinks that a recent death ruled a suicide was really a murder and that some cops are trying to cover it up. As you might expect, she's not too popular with the police department,and she's also facing a charge of assault on a police officer stemming from a "misunderstanding" between her car and a police horse. When she's ordered to appear in court for the crime,she gets a call from her informant who claims to have info that will break her suicide case, but he has to meet her now. Naturally, she blows off the court appearance to meet the snitch. Unfortunately, the snitch has been snatched by the bad guys,and now there's a warrant out for her arrest. The bail bondsman who posted her bail sends one of his best bounty hunters to pick her up;that'll be Milo (Butler),her ex-husband. For most of the film we have the two ex-spouses playing their own cat-nd-mouse game while the killer in Nicole's case is out to kill her. Then there's the mob boys that Milo owes a huge gambling debt to. Finally, to complete a hat trick of pursuers,there's Stewart (Sudeikis) who is in love with Nicole and decides to "rescue" her from her situation. As you might have guessed, Stewart is going to end up in a world of hurt.

The name says it all. With just those four words, you can pretty much figure out everything you need to know about Hot Tub Time Machine. This is very much a party film in the tradition of the Saturday Night Live alumni movies of the 70's and 80's. With the release of this movie, you no longer need to travel back in time to 1986 to watch a film that relies almost entirely on sex, drugs, and rock ‘n roll for most of its situational comedy. The rest gets filled in with your standard toilet humor. I'm not sure exactly when it happened, or who exactly I should blame, but at some point filmmakers decided that the only way to elicit laughter was to gross you out. Before long a sort of Hollywood arms race had started. Each new film had as its primary mission the objective to out-gross the ones that came before. If you wish to measure success on that axiom, Hot Tub Time Machine is a very successful movie.

Meet four guys who are in a desperate need to get a life. Adam (Cusack) has just lost his live-in girlfriend. It seems she took a lot of the good stuff, including the television, with her. Nick (Robinson) was once a promising local musician with a loving wife. Now his wife is cheating on him, and he works at a doggie spa named Sup Dawg removing crap from rich folks’ constipated dogs. Lou (Corddry) is divorced, broke, and alone. While getting carried away listening to a rock song on the car stereo, Lou almost kills himself in a closed garage with the car running. His friends, who really don't even like him that much, had long since abandoned him. Now that they think he tried to commit suicide, they get guilted into taking him out for a good time. Together with Adam's geek nephew Jacob (Duke), they decide to go back to the location of their glory years of youth, a ski camp. Of course, a lot has changed in 25 years. The place is now a ghost-town dump. On the bright side, their hotel room comes equipped with a hot tub. The four guys party hard and into the night. When they wake up, the place is packed and jumping like it was in the good old days of Winterfest 1986. There's a good reason for the change. The hot tub has transported them back to 1986 into the bodies of their younger selves. Their good times are hampered by the appearance of a cryptic hot tub repairman (Chase) who appears to know what's going on. He warns them that if they change anything, there could be dire consequences. Jacob's worried that he might not even be born.

Lionsgate has as good a collection of catalog titles as any studio out there.  Many of these films have not yet been given the high definition Blu-ray treatment for one reason or another. So I'm sitting here trying to figure out how a trivial film like Ladybugs jumped the line and finds itself in a barebones release on Blu-ray this month. I'm sure that the movie has its fans. Of course, I've never met any of them, but I gotta believe that they're out there ... somewhere.

Don't get me wrong. I love Rodney Dangerfield. He's one of the few guests on Letterman who got me to be sure to schedule my DVR. I don't get to watch such things often, because I spend a large part of my entertainment time watching films for you guys. I know. It's a tough job, but somebody's got to do it. Yeah, I laugh about it all the time with my friends and family who have real jobs. Usually, they don't think that one's so funny. Except sometimes this really is a tough job. And, you want to know what else isn't so funny? Ladybugs. It's a bad sign when I find myself laughing hardest at a scene where Rodney's behind a dressing room curtain with Jonathan Brandis, and he's sounding like a pedophile to a shopper who misunderstands what she sees and hears. When that's the high point of any film, you've really gotta question the value of the kinds of things you're watching.

I get the impression that things didn't quite work out for Joe Pesci the way he might have originally intended. There's a heart of a serious actor buried somewhere deep under the makeup of a clown.  Who can forget the dead-eyed killer Tommy from Goodfellas? Most of us have that restaurant scene engraved in our heads where Tommy asked the immortal question "Do I amuse you?" Well ... Joe, actually, you do. And putting aside his initial role of Joey in Raging Bull and the aforementioned Tommy with its carbon-copied Casino character, Pesci has made the most noise by amusing us. Whether it was playing the title character in the hilarious My Cousin Vinny or the reluctant police snitch Leo Getz in the Lethal Weapon films, as much as he scared the crap out of us in Goodfellas, we've spent a lot more time laughing when Joe Pesci was up on the big screen. Jimmy Hollywood is certainly not the best of these funny roles, but it merits honorable mention.

Jimmy (Pesci) is one of the thousands of actor hopefuls that have come to Hollywood in search of stardom. It's all he thinks about. He even takes out an ad on a bus stop bench, expecting Hollywood big shots to be ringing his phone off the hook with starring roles. The truth is that Jimmy is more than a little naive. He's memorized the order of the stars on the Hollywood Walk Of Fame, and he can sit mesmerized by old Hollywood documentaries. Still, he's not recognized for whatever talent he believes he possesses. The truth is that Jimmy really pines for a Hollywood that doesn't even exist anymore. He's looking for that Golden Era with the likes of Cagney and Robinson. He's looking for streets that glitter like gold. Instead, he finds the streets are infested with criminals. His girlfriend Lorraine is robbed at gunpoint on her way home from the beauty parlor where she works. When his car is broken into and his stereo stolen, he decides to take drastic action. If the cops can't stop the criminals, then he will. Along with his best friend and cameraman William, who is somewhat mentally only half there, he stakes out the streets waiting for the serial stereo thief to try for another stereo. They record the crook in the act, tape a confession complete with the address of his fence and tie the guy up and leave him, the stereos, and the tape at the steps of the police department. William signs the label-maker note SOS, and before long the police believe a major vigilante group is at work in Hollywood.

"The rocket belt was first developed by Bell Aeronautics in the 1950's with financial backing from the U.S. military. The Bell Rocket Belt flew successfully for the first time in 1961. Upon seeing the test, the U.S. military found the device so impractical that they promptly withdrew financing and dropped all support for further development."

Unless you’re a regular at the film festival circuit, chances are you haven't even heard of the movie Pretty Bird. Even after picking up the distribution rights to this quirky comedy, Paramount left it sitting somewhere in a cold canister for about two years. Finally the movie arrives in a bare-bones direct-to-DVD format. Is it possible that the studio found the film so impractical that they didn't see any upside to further financial support that releasing the film at the box office would entail? After watching the movie for the first, and likely last time, I suspect there is more truth to that theory than not.

Nick Twisp (Michael Cera) is a 16-year-old in terminal virgin mode. His home life with his mother and piggish boyfriend (The Hangover's Zach Galifianakis) is a nightmare, but when said boyfriend runs afoul of a trio of sailors, an enforced vacation is mandated. At the trailer park, Nick meets Sheeni (Portia Doubleday), a girl who not only speaks to him but shares his tastes. But Nick has a rival for Sheeni's affection, and in order to win her heart, he must be bad. Conjuring suave alter ego François as his guide, he embarks on an escalating campaign of mayhem designed to unite him with his beloved.

Michael Cera turns in a patented Michael Cera performance: the sensitive, intelligent, shy teen. What could feel too familiar, though, is kept fresh by his hilarious incarnation of François, and the humour depends to no small degree on bouncing off the Cera's established screen persona. And work the humour does. There are great sight gags here, some terrific slapstick, and no end of sharp verbal wordplay. The script is an intelligent delight, and the characterizations are quirky and sharply drawn. I have essentially two reservations: Sheeni is a pretty unsympathetic character, unworthy of Nick's devotion, and the more we see of her, the more his love becomes inexplicable; and there are a number of appealing characters who simply drop through cracks in the plot, never to be seen again. Still, all told, this is one sharp, funny comedy.