(David Wain, 2001)
Something just a little off about Wain's parody, which is perhaps what has given it enduring appeal and made it a cult film, while so many movie spoofs date quickly and are never thought about again.
The sense of humour here is more Anchorman than Scary Movie - there is a decided strain of absurdism and an anarchic sensibility informing many of the jokes, which makes it feel like anything can happen (the trip into town that ends up in a crackhouse montage is the best example of this) -and the writing is generally very strong, and clever, making sure there is a variety of comic material throughout.
Firstly, it works as a spoof. Set on the last day of summer camp in 1981 and focused on a disparate group of characters mainly concerned with pairing off before they all go their separate ways, the plot could come verbatim from some lost American teen movie from that era. The music is hilarious, the hair and fashions just right, and the photography and montage sequences are note perfect. The obsession with sex of more or less every character also tunes into tasteless '80s teen cinema in a way no modern teen comedy can ever really approach.
Then there are the flashes of surrealism, absurdism and post-modernism, with talking vegetable tins, psychic powers and falling satellites all part of the story.
Lastly, the characters are frequently hilarious, most notably Paul Rudd as a rebellious camp counsellor given to gurning and posing, Amy Poehler as a pretentious drama teacher, and Ken Marino as a desperately virginal colleague who embarks on an odyssey to lose his cherry.
The cast seems incredible in retrospect, which perhaps says enough about how good most of them are here.
Showing posts with label parody. Show all posts
Showing posts with label parody. Show all posts
Monday, 3 August 2015
Sunday, 12 July 2015
SPY
(Paul Feig, 2015)
In which Feig nimbly manages to combine his dirty-chuckle-of-a-sensibility with a James Bond parody, create a series of surprisingly decent action scenes, and show a whole new side to Jason Statham. Not bad going.
Melissa McCarthy plays Susan Cooper, a desk-bound CIA agent, content to live out her life as the voice in the ear of super-smooth super agent Bradley Fine (Jude Law), with whom she is in unrequited love. Until that is Fine is killed on a mission by Raina (Rose Byrne in comedy foreign bitch mode). Then Susan finds herself in the field, trying to find Raina and a stolen nuke, while also having to deal with the macho semi-competence of rogue agent Rick Ford (Statham chewing scenery manically as he parodies himself and every action cliche ever). At that point the film goes all globe-trotting, with scenes in Paris, Rome and Budapest, gunfights, fistfights and car chases.
But the best material is almost all in the interplay between McCarthy and the rest of the cast, especially when she is allowed off her leash in the third act.
Much of the funniest bits are courtesy of the supporting cast, with Brits Peter Serafinowicz and Miranda Hart especially impressive.
In which Feig nimbly manages to combine his dirty-chuckle-of-a-sensibility with a James Bond parody, create a series of surprisingly decent action scenes, and show a whole new side to Jason Statham. Not bad going.
Melissa McCarthy plays Susan Cooper, a desk-bound CIA agent, content to live out her life as the voice in the ear of super-smooth super agent Bradley Fine (Jude Law), with whom she is in unrequited love. Until that is Fine is killed on a mission by Raina (Rose Byrne in comedy foreign bitch mode). Then Susan finds herself in the field, trying to find Raina and a stolen nuke, while also having to deal with the macho semi-competence of rogue agent Rick Ford (Statham chewing scenery manically as he parodies himself and every action cliche ever). At that point the film goes all globe-trotting, with scenes in Paris, Rome and Budapest, gunfights, fistfights and car chases.
But the best material is almost all in the interplay between McCarthy and the rest of the cast, especially when she is allowed off her leash in the third act.
Much of the funniest bits are courtesy of the supporting cast, with Brits Peter Serafinowicz and Miranda Hart especially impressive.
Tuesday, 23 December 2014
THEY CAME TOGETHER
(David Wain, 2014)
Great gags and inspired scenes are studded through They Came Together. The best of those, oddly, are the ones that aren't parodying romcom cliches, the ones that have their own internal humour.
Like the scene where the boss of Paul Rudd's Joel finds himself unable to remove his superhero costume at a fancy dress party - shot by Wain in a series of frantic takes as he contorts his body, his face more and more crimson - and shits his pants, then denies any culpability, having left his soiled costume on the bathroom floor. Or the many random moments of exaggerated behaviour, like Molly's (Amy Poehler) Mom propositioning Joel as a "test" then casually revealing herself as a White Supremacist.
But the film is chiefly a parody of romcoms, and as such it gets so much right, ticking off cliches and conventions as it goes along. Told in flashback by Joel and Molly from a restaurant dinner with another couple, it winks at the audience consistently and from the first moment with it's acknowledgement that New York City is like the "third character" in their story. The problem is that while many of these cliches are presented in hilarious contexts, not all of them are, and it's not enough just to notice conventions; you need to use them somehow, and Wain doesn't do that quite enough.
His cast are a great help, delivering a series of arch "bad" performances full of mugging and telegraphed emotions. Rudd and Poehler have genuine chemistry, which keeps this watchable even as it gets bogged down in a series of short sketches with an at-times-tiresome narrative link. Some gags become funny through repetition (characters constantly say "Shit!" to themselves after somebody else has left, while in other situations, stop people from leaving just so they can say "Thanks.") while some fall flat instantly, but overall this is a pleasantly clever comedy. It's just not quite funny enough.
Great gags and inspired scenes are studded through They Came Together. The best of those, oddly, are the ones that aren't parodying romcom cliches, the ones that have their own internal humour.
Like the scene where the boss of Paul Rudd's Joel finds himself unable to remove his superhero costume at a fancy dress party - shot by Wain in a series of frantic takes as he contorts his body, his face more and more crimson - and shits his pants, then denies any culpability, having left his soiled costume on the bathroom floor. Or the many random moments of exaggerated behaviour, like Molly's (Amy Poehler) Mom propositioning Joel as a "test" then casually revealing herself as a White Supremacist.
But the film is chiefly a parody of romcoms, and as such it gets so much right, ticking off cliches and conventions as it goes along. Told in flashback by Joel and Molly from a restaurant dinner with another couple, it winks at the audience consistently and from the first moment with it's acknowledgement that New York City is like the "third character" in their story. The problem is that while many of these cliches are presented in hilarious contexts, not all of them are, and it's not enough just to notice conventions; you need to use them somehow, and Wain doesn't do that quite enough.
His cast are a great help, delivering a series of arch "bad" performances full of mugging and telegraphed emotions. Rudd and Poehler have genuine chemistry, which keeps this watchable even as it gets bogged down in a series of short sketches with an at-times-tiresome narrative link. Some gags become funny through repetition (characters constantly say "Shit!" to themselves after somebody else has left, while in other situations, stop people from leaving just so they can say "Thanks.") while some fall flat instantly, but overall this is a pleasantly clever comedy. It's just not quite funny enough.
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