IMDb-BEWERTUNG
5,9/10
9265
IHRE BEWERTUNG
Ein Medizinstudiumsabbrecher und eine Hausfrau/Mutter versuchen, als Stand-up-Comedians durchzustarten. Sie werden Freunde und helfen sich gegenseitig in einem New Yorker Comedy-Club aus.Ein Medizinstudiumsabbrecher und eine Hausfrau/Mutter versuchen, als Stand-up-Comedians durchzustarten. Sie werden Freunde und helfen sich gegenseitig in einem New Yorker Comedy-Club aus.Ein Medizinstudiumsabbrecher und eine Hausfrau/Mutter versuchen, als Stand-up-Comedians durchzustarten. Sie werden Freunde und helfen sich gegenseitig in einem New Yorker Comedy-Club aus.
- Auszeichnungen
- 1 wins
George McGrath
- Singing Nun
- (as George Michael McGrath)
Ángel Salazar
- Rico
- (as Angel Salazar)
Handlung
WUSSTEST DU SCHON:
- WissenswertesAbout two months before the film started principal photography, Tom Hanks wrote and performed a five-minute stand-up comedy routine at the Los Angeles Comedy Store in California. Hanks once said of this: "It was pure flop sweat time, an embarrassment. That material lasted 1 minute 40 seconds, and it had no theme".
- PatzerWhen Steven and Lilah are riding the #7 subway, the Manhattan terminus of the line is shown as Lexington Ave. The actual terminus should be 42nd St./ Times Square.
Ausgewählte Rezension
I wanted to like this
It's hard to envision a time in Tom Hanks' career where he had roles in 5 critically panned, as well as commercially dismal films. While I find Joe Versus the Volcano to be a genuinely remarkable and unique film, and Turner and Hooch to be a K-9 ripoff that is a lot more fun than any James Belushi vehicle, Punchline falls flat in too many ways to even get an A for effort.
Hanks is woefully miscast as a guy who's supposed to come off as a selfish jerk (it doesn't help that I can't help but imagine Tom asking viewers to donate to a WWII veterans memorial). When he borders on the icy cold determination of someone who believes they are bound for greatness but are relegated to mentor and also-ran, the movie and Hanks hint at greatness. But ultimately the role should have gone to someone more adept at playing selfish jerks: I imagine a young Kevin Spacey or a world-wearied Richard Belzer.
The real problem is the utter flatness of Sally Field's crowd-winning "jokes." Was I the only one groaning in horror at her Z-rate, HBO late-night schtick? The idea that she's a stunning new talent in the cutthroat world of 80s stand-up is unthinkable (I can't remember what documentary it was, but I saw an excellent collection of comedians talking about the desperate need to be the "next Eddie Murphy" and later the "next Roseanne/Seinfeld"). That's where the movie fails: it suggests that Hanks is just too unrelentingly cruel and embittered to attain stardom, while Fields good-natured "hilarious" insights into real-world pressures make her a guaranteed crowd-pleaser. Neither fully embody their roles convincingly, and the writer just doesn't know good comedy.
Jay Mohr described the creative nadir in comedy: when the typical comedian was bland guys sporting a neon blazer, standing in front of brick walls blurting out tired clichés like "you ladies know what I'm talking about." It's obvious that David Seltzer (writer of the gut-busting Omen series and The Other Side of the Mountain) thinks the world of these garden variety hacks, and without convincing leads, remarkably funny stand-up routines, or the proper balance of convincing drama and humor, the movie just falls flat in every way. I'm giving it a four based on the gleam of promise in Hanks' otherwise unconvincing turn and the faint hope that he could actually portray a genuinely unlikable character in the future (though I doubt it considering a similar misstep with Bonfire of the Vanities and his lovable hit-man in Road to Perdition).
Hanks is woefully miscast as a guy who's supposed to come off as a selfish jerk (it doesn't help that I can't help but imagine Tom asking viewers to donate to a WWII veterans memorial). When he borders on the icy cold determination of someone who believes they are bound for greatness but are relegated to mentor and also-ran, the movie and Hanks hint at greatness. But ultimately the role should have gone to someone more adept at playing selfish jerks: I imagine a young Kevin Spacey or a world-wearied Richard Belzer.
The real problem is the utter flatness of Sally Field's crowd-winning "jokes." Was I the only one groaning in horror at her Z-rate, HBO late-night schtick? The idea that she's a stunning new talent in the cutthroat world of 80s stand-up is unthinkable (I can't remember what documentary it was, but I saw an excellent collection of comedians talking about the desperate need to be the "next Eddie Murphy" and later the "next Roseanne/Seinfeld"). That's where the movie fails: it suggests that Hanks is just too unrelentingly cruel and embittered to attain stardom, while Fields good-natured "hilarious" insights into real-world pressures make her a guaranteed crowd-pleaser. Neither fully embody their roles convincingly, and the writer just doesn't know good comedy.
Jay Mohr described the creative nadir in comedy: when the typical comedian was bland guys sporting a neon blazer, standing in front of brick walls blurting out tired clichés like "you ladies know what I'm talking about." It's obvious that David Seltzer (writer of the gut-busting Omen series and The Other Side of the Mountain) thinks the world of these garden variety hacks, and without convincing leads, remarkably funny stand-up routines, or the proper balance of convincing drama and humor, the movie just falls flat in every way. I'm giving it a four based on the gleam of promise in Hanks' otherwise unconvincing turn and the faint hope that he could actually portray a genuinely unlikable character in the future (though I doubt it considering a similar misstep with Bonfire of the Vanities and his lovable hit-man in Road to Perdition).
hilfreich•1716
- markmywords85
- 15. Jan. 2008
Top-Auswahl
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Details
- Erscheinungsdatum
- Herkunftsland
- Offizieller Standort
- Sprachen
- Auch bekannt als
- Punchline
- Drehorte
- Produktionsfirmen
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 15.000.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 21.042.667 $
- Eröffnungswochenende in den USA und in Kanada
- 160.742 $
- 2. Okt. 1988
- Weltweiter Bruttoertrag
- 21.042.667 $
- Laufzeit2 Stunden 8 Minuten
- Farbe
- Sound-Mix
- Seitenverhältnis
- 1.85 : 1
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Oberste Lücke
By what name was Punchline - Der Knalleffekt (1988) officially released in India in English?
Antwort