6.8/10
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12 user 1 critic

Margaret Cho: CHO Revolution (2004)

Filmed live at the Wiltern Theatre in Los Angeles in 2003, Revolution is comedian Margaret Cho's triumphant return to the screen with the same unbridled, no-holds-barred humour that infused... See full summary »

Director:

Lorene Machado

Writer:

Margaret Cho
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Cast

Credited cast:
Margaret Cho ... Herself
Bruce Daniels ... Himself
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Storyline

Filmed live at the Wiltern Theatre in Los Angeles in 2003, Revolution is comedian Margaret Cho's triumphant return to the screen with the same unbridled, no-holds-barred humour that infused her previous two shows. In Revolution, Margaret tackles the Axis of Evil, her travels through Thailand's red light district, the explosion of child birth, bartering sex for household chores, revolutionising one's self-esteem, the joy of bodily functions, her loser ex-boyfriend, and of course, her now world-famous mother. Known as much for her social activism as she is for her raunchy humour, Margaret is a one-of-a-kind phenomenon who once again brings her distinctive and empowering personal voice to her devoted and adoring fans.

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Genres:

Comedy

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Details

Country:

USA

Language:

English

Release Date:

12 June 2004 (USA) See more »

Also Known As:

Margaret Cho: Cho Revolution See more »

Filming Locations:

Los Angeles, California, USA

Company Credits

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Technical Specs

Color:

Color
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Did You Know?

Quotes

Bruce Daniels: Like, some straight white guy comes up to me and says, "Dude. Dude. Dude. You're like fuckin' whiter than I am." Okay, first of all, you're over 30, you can't say dude anymore. Second, just because I use proper English doesn't make me whiter than you, just smarter than you.
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Connections

Follows Margaret Cho: Notorious C.H.O. (2002) See more »

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User Reviews

 
A letdown
7 June 2004 | by SchmeezSee all my reviews

Margaret Cho's 2 previous filmed standup efforts - "I'm the One that I Want" and "Notorious CHO" were great fun: relevant, uproarious, uplifting and endearingly offensive. This one just does not have the charm or humor of its predecessors. The jokes feel forced, and the more vile and provocative bits of her set -- which are usually the most hysterical -- here feel too contrived and deliberate.

There are a few good laughs (detailing the expulsive results of a persimmon diet), but they are too often countered by jokes that are only mildly amusing (random catch phrases dedicated to a certain portion of the female body) or flat out dull. What's worked in her other routines is her ability -- like Richard Pryor -- to find humor in her heartbreak. Her identity and others' perception of her body have always come across as apropos and moving; that is not the case here. Even her tried and true tales of her mother's suffocating brand of love feel obligatory this go around.

Its short running time and padded jokes seem to confirm the notion that perhaps Ms. Cho needs a much-deserved break to give her time to add more depth and humor to her routine. She's been hysterical in the past and I'm sure she will again, but this one didn't do a whole lot for me.


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