In a day and age when far too many movie trailers give away the entire movie, it is refreshing when a well-marketed one gives us just a hint to grab our interest. For me, I’ll start a preview. The second I deem a movie worth seeing, I stop watching the trailer. It’s a little more complicated when I’m in the movie theater. I don’t want to be ‘that guy’ who closes his eyes and plugs his years. However, with the runtime of movies getting longer and longer and the ability to choose seats ahead, I often don’t arrive at my seat until right before the movie starts. I got the basic jest of Marc Forster’s (World War Z, The Kite Runner) A Man Called Otto. It looked like a light-hearted comedy about a disgruntled older man named Otto (Tom Hanks – Captain Phillips, Bridge of Spies) who, throughout the movie, is slowly won over by the young family that has moved into his neighborhood. And while that is mostly true, this movie is far more profound and poignant than I was prepared to experience.
Category Archives: Comedy
The Banshees of Inisherin (2022)
Dark comedy is not a genre that was made for me. Though there are many exceptions to the rule, the comedies I most enjoy star actors such as Will Ferrell (Old School, The Campaign, Step Brothers, The Other Guys), Adam Sandler (Billy Madison, Happy Gilmore, The Waterboy), Jason Segel (I Love You, Man, Forgetting Sarah Marshall, The Five-Year Engagement, Sex Tape, or Ed Helms (The Hangover, We’re the Millers, Vacation). Some of my other favorite comedies are There’s Something About Mary, all three of The original-cast American Pie films, Meet the Parents, Daddy’s Home, Get Him to the Greek, Hall Pass, The Internship, and Long Shot. Some comedies I greatly liked from my adolescence include Uncle Buck, Parenthood, Father of the Bride, Three Amigos, National Lampoon’s Christmas Vacation, The Money Pit, and A League of Their Own.
The Menu (2022)
Mark Mylod’s (What’s Your Number?, The Big White) The Menu is far from a movie that usually interests me. It’s exceptionally outrageously strange while still trying to come across as something meant to be believable. I’m also not much of a fan of dark humor. Films like American Psycho, This Is The End, Burn After Reading, Blazing Saddles, The Cabin in the Woods, Little Miss Sunshine, The Favourite, Birdman, In Bruges, Inglorious Bastards, The Grand Budapest Hotel, Being John Malkovich, Borat, A Simple Favor, Hail, Caesar!, Hot Fuzz, Shaun of the Dead, The Cable Guy, Jo Jo Rabbit, The Ref, Trainspotting, The Big Lebowski, Funny Games, The War of the Roses, Adaptation, Heathers, Rushmore, Death to Smoochy, Snatch, Knives Out, Observe and Report, O Brother Where Art Thou?, Game Night, or The Lobster don’t do it for me.
On the Count of Three (2021)
The opening sequence of Jerrod Carmichael’s feature-length debut On the Count of Three shows a revolver being pointed inches from the face of Kevin (Christopher Abbott – It Comes At Night, First Man), a thirty-something man with swollen eyes and a twitching mouth that suggests that something terrible is about to happen to him. Then, the camera shifts to Val (Carmichael – Neighbors, The Disaster Artist), who has a similar firearm in his hand, pointing it at Kevin. Are these two men adversaries, attempting to make the other lower their gun with the threat to shoot?
Everything Everywhere All At Once (2022)
Everything Everywhere All At Once has slowly and quietly followed the established template of A24, a studio known for releasing groundbreaking, original, and independent movies. Through initial word of mouth, the co-directed film by Dan Kwan and Daniel Scheinert (who also co-wrote), Everything Everywhere All At Once, has become a movie that everyone has at least heard of, even if it has not been seen. Other nonconventional A24 films that had a lot of buzz around them and ended up earning Best Picture nominations in the last half dozen years include Minari (2020), Lady Bird (2017), and Moonlight (the Best Picture winner of 2016). While I appreciated all three movies, I only enjoyed Moonlight. I know that many will die on the sword for Lady Bird. I was not one of those people. A growing number seem willing to do the same for Everything Everywhere All At Once. Again, I am not one of them. I found the story incredibly uneven, the pace hurried, and the narration unreliable.