| Videos (see all 4) |
| Margaret Cho | ... | Herself | |
| rest of cast listed alphabetically: | |||
| Bruce Daniels | ... | Himself | |
| Selene Luna | ... | Herself | |
Directed by | |||
| Lorene Machado | |||
Writing credits | ||
| Margaret Cho | (written by) | |
Produced by | |||
| Suzanne Ali | .... | field producer | |
| Margaret Cho | .... | executive producer | |
| Keri Smith Esguia | .... | executive producer | |
| Nisha Ganatra | .... | field producer | |
| Lorene Machado | .... | executive producer | |
| Dennis Sugasawara | .... | producer | |
Original Music by | |||
| Andrea Bensmiller | |||
Cinematography by | |||
| Andrew Takeuchi | (director of photography) | ||
Film Editing by | |||
| Lorene Machado | |||
Production Design by | |||
| Ken Short | |||
Makeup Department | |||
| Judd D. Minter | .... | key hair stylist | |
| John Stapleton | .... | key makeup artist | |
Production Management | |||
| Steve Rockmael | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Brett Dos Santos | .... | first assistant director | |
| Bret Warren | .... | second assistant director | |
Sound Department | |||
| Tamara Johnson | .... | sound re-recording mixer | |
| Tamara Johnson | .... | supervising sound editor | |
| Blake Marymor | .... | sound recordist | |
| Molly Minehan | .... | field audio | |
| Bob Wartinbee | .... | audio engineer | |
Camera and Electrical Department | |||
| Scott Acosta | .... | jib operator | |
| Natasha Bedu | .... | remote camera operator | |
| Russel Harris | .... | best boy | |
| John Hartman | .... | audio assistant | |
| Kim Haun | .... | camera operator | |
| Roger Masson | .... | video control operator | |
| Allen Nalasco | .... | still photographer | |
| Andrew Takeuchi | .... | camera operator | |
| Adam Walderman | .... | camera operator | |
| Miles Watanabe | .... | lighting designer | |
| Warren Yeager | .... | camera operator | |
| Pyongson Yim | .... | remote camera operator (as Pyong Yim) | |
Editorial Department | |||
| Phil Mason | .... | colorist | |
| Phil Mason | .... | on-line editor | |
| Angie Piccirillo | .... | on-line editor | |
Music Department | |||
| Alynn Dotson | .... | music supervisor | |
Other crew | |||
| Jessie Boemper | .... | production assistant | |
| Amber Bollinger | .... | utilities | |
| Joshua Carmer | .... | script supervisor | |
| Steve Elis | .... | engineer in charge | |
| Jirar Gertmenian | .... | key production assistant | |
| Bobbie Givens | .... | production assistant | |
| Chris Hall | .... | engineering assistant | |
| Bear Johnson | .... | utilities | |
| Angelo Lovato | .... | utilities | |
| Blake Marymor | .... | assistant mixer | |
| Matt Myers | .... | production assistant | |
| Jennifer Requiro | .... | field assistant | |
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| CBC Winnipeg Comedy Festival | Notorious C.H.O. | Religulous | Milk | My Own Private Idaho |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb USA section |
Comedienne Margaret Cho's most verbally-explicit filmed concert, a non-stop comedic barrage of oral, vaginal, and anal sex comparisons which isn't for the faint of heart. Taped in 2008 before a live audience in Long Beach, CA, just prior to the Obama-McCain Presidential election, Cho's political musings (and internet jokes) sounded surprisingly dated once the special finally arrived on the Showtime network in the summer of 2009; however, her tales of sexual conquest (not with whom but with what) are predictably funny, as is the X-rated ballad which closes the show. A self-described 'queer' who loves getting down and dirty with both men and women, Cho drops a small bombshell early on by admitting she's been married for several years--and is a former Sunday School teacher whose grandfather was a minister! Looking lovely with a feathered mane of brunette hair and bare, inked shoulders, Cho often gets her biggest laughs by pausing in the correct places during a joke, and her facial expressions in the midst of a story can be priceless. Unfortunately, the political slings and arrows seem to leave the movie audience non-plussed--they are a low-energy lot, anyway--and brief stories about Cho's world travels and a reality show merely serve as set-ups for gags on other topics. Margaret's ultimate message of self-love (for herself and everybody else) never skirts narcissism or camp; she believes what she's telling you. But in retrospect, what with a reportedly conservative marriage happening behind-the-scenes, Cho's bedtime stories come off as slightly gruesome. One wonders how much of a put-on this Cho-version actually is. ** from ****