Reviews written by registered user
|63 reviews in total|
The writing on this show is so bad it makes me laugh. If you are an Occupy Dolt Street goon, I'm sure it will play right into your "Freedom is the enemy" meme. Seriously, the name of the antagonist company is Evil Corp. That's not its nickname, that's the real name of the evil corporation where the evil white CEO beats up homeless people for his stress relief en lieu of a hand held smooshy face thing where the eyes bug out, I suppose. The author obviously feels logic is for chumps, and has his protagonists violating the very rules they condemn others for. The Characters are cliché and "dirtied up" for what passes for badass now in entertainment, and as usually happens in Hollywood, the wrong people are tagged as the bad guys, while the real bad guys are proposed as the solution. Some of the acting is decent, especially the lead, the tech specs are nice, but the foundation of the show, the story and the characters, are built on quicksand. Seriously, moral depravity and socio economic opinions aside, this show is filmed for adults, but written for junior high schoolers.
I cannot think of when I've seen so much talent squandered in a comedic
movie as with David Cross's 'Hits'. But then again, I'm not convinced
this was supposed to be a comedy. It is possible Cross has gotten so
advanced in his irony that this 90 minute critique of the unwashed
flyover idiots - and the equally gullible New York "hipsters", and,
honestly, everybody but Cross himself - is actually a hybrid
documentary, the actors unawares they were executing the author's
cunning critique of how gullible everybody in the world is, except the
Davidians, of course.
Cross has talent like Amy Sedaris, Michael Cera and the always hilarious Dave Koechner, and uses them for all of a couple scenes each, never once putting them in a situation where they can show off their comedic abilities, rather, rolling out one tired, pandering inside joke after another. In one scene where Michael Cera sells pot to a few nerdy hipsters, the comedy centers around how particular some potheads are over their specific type of grass, a hilarious set piece if you happen to be one of the hundreds of people in the world that has witnessed such absurdities.
The script is trite, cliché and one dimensional. It is so clumsy getting out of the gate that a full 45 minutes in I still had no idea what the movie was about, nor had I laughed once, nor did I care about a single character. In the end, Hits is nothing more than a blathering and pointless monologue, typical of Cross in recent years, where he criticizes the minutia of people that are not as enlightened as he and his cult. To confirm that I'm not just using hyperbole, go to Youtube and look for Cross's diatribe on Jim Belushi, all because Belushi didn't sign an autograph once. It's proof positive Cross has lost his mind, and the defense of his idiotic actions in the comments section evidence of a cult.
It seems incredible that with all the success Cross had in the past with the highly acclaimed Mr. Show and his hilarious turn in Arrested Development, he could not find a better project to put his time and efforts into than... well, most everything he's done, and now this pointless waste of time. One has to wonder if maybe it was Odenkirk that came up with all those funny ideas on Mr. Show and Cross was just in the right place at the right time. He is a funny actor, no doubt, but I'm afraid he's become twice the gullible idiot of those he finds copious time to ridicule.
This feels a lot like an M. Night Shamalama project. I suspect his hand is fairly heavy in the decision making process on this one. Matt Dillon is a fine and interesting actor, and drew me to watch the pilot He has plenty of company here with other fine actors, all of whom cannot save this train wreck of a show. The problem with Wayward Piles, as with most of Shamalamadingdongs work, is that it expects you to drop all pretenses of reason and believability and go for a ride with the silly, poorly conceived fantasies of the author. Nothing makes sense, but if you just turn off your brain and stop asking questions, then it might hold your attention. Unfortunately, even for those who are willing to, or long ago have, turned off their brains, this show feels set up for nothing more than an old fashioned Charlie Brown and Lucy missed football kick. I have no idea what the ending holds, as I only made it through three episodes before I couldn't take it anymore, but there seems to be only two ways for this to end. Either the city is real, in which case nothing makes any sense whatsoever, or it is imagined by a crazy Matt Dillon character, in which case it makes no sense whatsoever. Either way, the show is primarily nothing more than trickery to keep viewers confused so they might come back again to resolve things, which of course, will never happen in a satisfactory way. It seems the makers of Waylow Pines has borrowed ideas of several good shows, (i.e. Lost, Twin Peaks, The X-files et. al.) and ignored any of the important things those shows did to stay on the air for so long, while copying their grave mistakes.
There is, or should be (was anyways) a 10 min. clip of this movie on
Youtube featuring the punk/rockabilly band Jon Wayne. It turned me on
to the band and genre they perhaps invented and was hilarious. It
featured clips of the band performing live, clips of them in the studio
and, for lack of a better way of describing it, clips like you might
see at a night club of random public domain silliness. It also features
a very crude but hilarious video of one of the members of Jon Wayne in
a recording studio drunkenly "mixing" their best song, in my opinion,
If you are not familiar with Jon Wayne, they were a side project formed by some punk studio musicians (is there such a thing?). They played homage, tongue in cheek, to country music of the 60's and 70's, but beefed it up a bit with a rockabilly sensibility. This is very rare footage indeed and to my knowledge it is not available via conventional outlets. I would love to get my hands on a copy of this movie if anyone knows where to come by one.
This half hour special (it's title declares it a "show", was this
supposed to be a pilot?) was a goof on the Playhouse 90 genre, (i.e.) a
play is filmed live on stage and broadcast. The difference being, what
with this a Lovitz comedy special, he is lampooning himself and the
genre. What would you call this, a mockudrama? At any rate, the episode
had a sort of Damn Yankees feel to it. It centered on a baseball
player, something about if he slides into home he will die from an old
head injury, and, naturally, he must make up his mind at the end of the
play whether or not to slide headfirst into home to win the game. He
does and I can't remember what happens, which pretty much sums up this
show. Which is not to say the show didn't have it's moments. At the top
of the show Lovitz tells a row of illustrious directors, Rob Reiner,
Ron Underwood, et. al., that if they see anything they like during the
play simply pick up the phone in front of them and it would ring a
phone on the stage. During dramatic moments Lovitz would gesture to the
directors and the phone. When the phone would ring, it was always to
offer work to someone other than Lovitz.
The thing was loaded with stars and for the life of me I couldn't figure out who was able to swing that. I remember a gag where Alex Rocco is shot through the glasses ala The Godfather and his last words are "Not the other eye", then they cut away to Duvall and Caan in the audience, high fiving.
The concept was really strange, and I like strange, but this just didn't work. It had it's moments now and then, Lovitz is a funny guy after all, but he strikes out here. Interesting how they list all the actors as themselves. As I recall they almost all played characters in the play. Not worth checking out, but at half an hour, not too painful.
So you want to go see a movie. You check the IMDb and see this film is
getting an 8.9 rating (#16 on the top 250). It stars Daniel Day Lewis,
he's a great actor. The TV ads look smart, and what's that "milkshake"
line about anyway? Off you go. Three and a half hours later you return
home and go on the IMDb and vote it a 10 out of 10. Why? Because you
are a secret mind-controlled drone of the company that made this film
and you always do what you are told. That is the only plausible
explanation I can come up with for the extraordinarily high ratings
There Will Be Blood is receiving. That or your moral compass only
This film is nothing more than a magnificently crafted pile of poop and frankly, I find its undeserving numbers highly suspect. There are plenty of examples where most every critic gets it "wrong" on a popular film, so no need to re-trod that ground (watch The Aristocrats if you don't believe me, I dare you). But a quick perusal of the IMDb comments index for this film seems to tell a different story than a movie voted higher than #18 Raiders of the Lost Ark or #36 Apocalypse Now. Searching in chronological order, about half the comments say they hate this film. Another quarter didn't think it was as good as everyone said, and only about a quarter praise the film. With that track record, this film should score somewhere in the 5 to 7 range. We should all hope that the studios have figured out a way to pump up IMDb scores. Otherwise, we live in a world where pointless violence and hypocrisy are celebrated as the ideal.
No doubt, this film has its merits. Daniel Day Lewis gives an award winning performance. I love it when an actor takes chances and I think it works here, many disagree. The film making is top notch, all the acting too. Most everything from cinematography to wardrobe is as good as it gets. Were this film to have a point, it all would have worked together for a powerful addition to the American film atheneum. As it is, it does nothing more than underscore tired stereotypes and leave its audience wondering why so much effort would be put into such depraved proclamations. Perhaps worse, it glorifies the most evil of human intentions.
Can we agree that more is required for a great film then just good film-making? Otherwise, Gigli deserved better treatment. Here, Daniel Day Lewis plays an oil man in the morally corrupt laissez-faire American big business culture (seen it) fighting with a morally corrupt Christian minister (seen it) in a society full of have-nots (seen it) controlled by gilded evil white men (that's new) and everything, eventually, adds up to nothing but gruesome, vivid murders and pointless hatred. Roll credits.
I found the portrayal of the young minister to be particularly vapid. Pastor of "The Church of the Third Revelation" please. Even the church name is painfully hack. Look, I can handle stock stereotypes, but can anyone in the film industry portray a Christian leader as anything more than a sad, money grubbing miscreant? And how many times are we going to need to see this before it gets tired? Not that any other religion or group could have taken its place. I wonder what the reaction to this film would have been had the Snidely Whiplash minister been portrayed as a Rabbi, and all the Jews in his congregation nothing more than gullible or emotionally weak? Never mind the cartoonish unfairness of it all, don't you think it makes for uninteresting character development? Whatever.
All the "smart" people will go away from this film figuring out that the world is a hopeless dog eat dog jungle. The rest of us will go home and do all the work that holds society together and hope for some other film to take our minds off things like this. 1 out of 10 for a pointless and grotesque story.
This was just a bunch of comedians doing stand up in a competition
sub-titled, "The search for Hollywoods hottest new comic." Something
like that. This was a benefit to raise money for United Cerebral Palsy.
I believe this was the second of 3 or 4 annual televised competitions
before the event ran out of steam. It came up during the "comedy boom"
years of the late '80's. I'm pretty sure this aired in the U.S. on some
crazy cable station like CBN (Pat Robertson's Christian Broadcasting
Network) as it began to branch out into secular programing. Did they
not later become the family channel, which was purchased by ABC?
Something like that. At any rate - an interesting show if only to check
out some then unknown comics that might be famous now, though I
couldn't tell you exactly who the comics were.
Note: This was by no means a "10" as my vote would indicate, but it was also not a 3.5 show, per se. Just thought I would bring the score up to a more reasonable level.
How Billy Wilder was able to miss on such a monumental scale is beyond
me, but he sure does with Stalag 17. This movie is not a train wreck,
but it is a huge disappointment and certainly belongs nowhere on
anyone's top anything list. The story is compelling enough. There is a
rat in the POW barracks and nobody knows who it is. But any hope this
movie has of making it is dashed by cartoon like performances, cliché
characters, preposterous situations and eye rolling stupidity
throughout. Do not believe the hype. This is not a good film. Some Like
It Hot is a good film, The Apartment is a great film, many Wilder films
are fantastic, but this... this is not just a strike, it's one of those
misses where the batter falls down.
William Holden won the best actor Oscar for his performance as Sefton in this film, and he deserves it, but don't let that fool you. Aside from Holden, Stalag 17 feels more like "Springtime For Hitler".
Not many people know this, but Stanley Kramer did NOT direct this
movie. His name is on the film, but that was merely a marketing ploy
drummed up by the executives at United Artists. Inherit the Wind was
actually the freshman outing by little known director and circus act
promoter J. Worthington "Honest John" Foulfellow. You may know him
better as the fox from the Disney movie Pinocchio (1940). Well,
apparently one of the producers ran into Foulfellow at Shwab's drug
store and, being the sly fox that he is, he convinced U/A to let him
direct this film. Initial testing showed that people had an aversion to
seeing a film directed by an animated fox, so Kramer's name was added
With this is mind, it is much easier to enjoy the movie Inherit the Wind, taking it as a window into the cunning mind of a erudite swindler. At face value, one might consider the cartoonish behavior of the characters in this movie to be absurd, but when you realize Inherit the Wind was directed by a cartoon character, the movie suddenly makes perfect sense. As I understand it, the entire cast was originally supposed to be played by animated personalities, but when Bugs Bunny was held up by his contract at Warner Bros., Spencer Tracy was brought in to play the Henry Drummond role, and the decision was made to go with a human cast. I think this was a good choice. It gives the movie a much more ironic and paradoxical feel. Note the torch wielding peasants that want to lynch the "free thinking" teacher and picture a scene from Foghorn Leghorn and the barnyard dog, and you get the picture.
To me, the sheer genius of Honest John's work are the empirical aesthetic devices he employs to counterpoint the surrealism of the underlying metaphor. The movie is obviously mocking propaganda and how gullible those who think they are smarter than others can become. Yet if you are not careful, you will fall precisely into that trap, intuitively thinking the dialog is hack and the characters are cliché and formulaic. Another brilliant trap set by Foulfellow is the lack of historic accuracy in the film, as if to say, "The very premise this film is built upon is hype". Indeed, if one is not careful one can even walk away from this film thinking it completely sucks. If that be the case, all I can say is I pity you, you silly gullible philistine.
This so called documentary highlights a new technique in revisionist
history. It is one of the smartest films I have ever seen, but I say
that in a bad way. It seems hippies have discovered they need not run
from their failures, but, rather, just embrace them. Though I don't
mean to grant significance to this project beyond what it possesses, I
would like to warn people that this film is nothing more than thinly
First and foremost, 'The 60's: The Years That Shaped a Generation' is not about the decade the 60's. That is the first deception. But if you titled your film "Hippies: The People That Really Weren't That Bad" someone might think you have a bias. This is a film about hippies and, more broadly, the counter-culture revolution. Virtually nothing from '60's popular culture is discussed. Most of the film centers on the sociopolitical events that took place from 1967 to 1974. If you want to call that "the 60's" then so be it.
So far as I can tell, here is the thrust of this project: We hippies have a dilemma - When people look back on our legacy it is fraught with scandal, overt drug use, lawlessness, irresponsibility, reckless sexual behavior, snotty faced rebelliousness, naïveté and an overall creepiness factor. How do you 'spin' that? An epiphany is had. Why waste energy lying and running from your failures when you can just embrace them! Sure, we did drugs like Pez candy, but they were new and we were experimenting with everything 'new'. Sure, we behaved like dogs sexually, but we were shedding the ages of blind conformity. Sure, we had a complete and total disregard for authority, the same authority we now force others to accept as unmitigated truths, but did I mention Nixon yet? Here's the game plan with our project. First call it a documentary. People trust documentaries. Second, we tell people it's about "the 60's". That will cloak it in history, not opinion and sermonizing. Along those lines, we'll populate the movie with historians on our side and on their side we'll have villainized pundits. Third, we DO point out the faults of the hippies, but don't dwell on them. Just brush against them briefly in the context of history, and don't assign any culpability. Then quickly compare that to the faults of those we disagreed with and make sure we do assign culpability on their part (never mind the fact that most of those faults occurred in a different decade, apparently morality isn't the only ambiguous truth to hippies). Lastly, we leave open to speculation the failures of our efforts. We didn't all burn out on drugs and eventually need to "conform" in order to function on this planet. Who told you that? No, the problem was two of our leaders were assassinated and that took the wind out of our sails. Who would do such a thing? (if there's anything people love more than a spicy documentary, it's a good conspiracy!) It is worth noting that the murderers of Martin Luther King Jr. and Robert Kennedy and their motives are not even mentioned. The film also does not mention why, with the wind gone from their sails, the hippies proceeded to have the worlds largest orgy on a farm in New York just a year later. Was that a Irish wake of sorts? Nor does it mention how their flaccid sails relate to the plethora of failed attempts on the part of the counter-culture to achieve "new freedom" in the years to follow. The wind has gone out of the sails and it's not our fault. In closing, we wrap every thing up with a wedding reception pass-the-mike for blessings, "look at all the great things us hippies have done with our lives". So, in a way, one could say the message is 'it doesn't matter how great the institution you tear down, what matters is do you drink organic shade grown cappuccinos'?
Many conservative icons appear in this film, and I can't say I blame them for taking the opportunity - who wouldn't want to give their opinion on what went wrong with the hippies - but how could you not know that the film makers of a PBS documentary on the '60's are NOT going to try to make conservatives look irrelevant, or worse? As such, all conservative comments are used to underscore the absurdity of a contrary view. Absurdities such as Robert Bork saying that rock music fueled the rebellion. He's such a cretin! Right out of Reefer Madness I tell you! Never mind that earlier in the documentary those on the left were bragging about how rock music fueled their rebellion. Hypocrisy must be relative, too.
The film itself is well made and, I think, very interesting. The producers are masterful in there imagery and the flow of the "story", however, I might recommend spending a few more dollars at the stock footage library. I saw some clips, notably, a police line advancing towards a rioting crowd, as many as three times for various emphasis. My criticisms of this film are not having to do with it being poorly made. As most reviews focus on this quality of a film, this review may seem a bit unfair. But with the making of Michael Moore's Fahrenheit 9/11, et. al., I think people are beginning to realize there is more to movie making than just entertainment. No doubt there were many slick and "poignant" films made by the Nazi party, should their misrepresentations be ignored?
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