Pizza Man (1991)

Funny and political, but nearly unbearably silly, this ridiculous faux-noir centers on a 30-ish pizza man (go figure) as he warily ventures deep into East Hollywood to deliver (*gasp*) a large anchovy and sausage pizza. The pizza man, Elmo, is played by Bill Maher in, from what I gather, what was his only real leading man gig, and much of the humor follows suit: along his journey, he encounters politicos such as Dan Quayle, Ronald Reagan, and, in the least dated touch, "Donnie," the lost, insecure former pizza boy. The whole story is relayed through a sort of neo-noir guise, with Maher delivering a consistent deadpan voiceover relating his pizza-oriented agenda like a cop walking his beat, complete with dispatch calls and a no-nonsense, "just the facts" demeanor. This element masks the true nature of the film's script, which is a then-contemporary political satire, and due to writer/director J.F. Lawton's clear knowledge of noir archetypes and cliches, it keeps the film chugging along right past its stuck-in-the-early-'90s satirical targets, such as Quayle's momma's boy idiocy and presidential candidate Michael Dukakis's shoddy speaking skills. Lawton shoots L.A. through Elmo's winshield like its Taxi Driver, and keeps the film simultaneously rooted in both light-and-shadow driven noir and neon-soaked L.A. nightlife imagery. The one aspect Lawton cannot cover up through sheer style is his budget; the shabby sets are reused, action scenes are ugly and hobbled together, and the supporting cast is filled to the brim with nobody celebrity impersonators, along with a game, but ultimately underwhelming femme fatale by ways of Annabelle Gurwitch. Bill Maher's acerbic wit (and particular political sensibilities) makes him a refreshing, ideally detached noir lead, and, while it is obvious why he didn't parlay this into a serious career as a movie star (see his oft-referenced and disastrous attempt at injecting irony into a nonsensical dance sequence), him and the material have the same bizarre, specific kismit that Dennis Miller was able to harness in the similarly noir-tinged Tales from the Crypt Presents Bordello of Blood. The infectious energy and cleverness Maher and Lawton invested in this film gives it a lot of momentum and many memorable lines and scenarios; its lack of big-budget professionalism takes turns working for and against the production, making it a relatively exclusive, yet fairly rewarding affair for its specific audience (for all those interested: this bad boy's impossible to find, save for on youtube).

Recommended for fans of Bill Maher, or the politically savvy with a particularly clear memory of the general goings-on circa 1991. This is a less fantastic, yet more pointed effort than Lawton and Maher's previous team-up, Cannibal Women in the Avocado Jungle of Death; it wrings more mileage out of its noir setup than the latter's 50's B-movie trappings, yet fails to parade Shannon Tweed and Adrienne Barbeau around in jungle bikinis (a heinous crime if ever there was one).

Tucker and Dale vs. Evil (2011)

Cute, low-key horror-comedy about duo of well-meaning, but buffoonish rednecks on vacation who are vilified, demonized, and, indirectly, tortured by a nearby group of teens. The central joke of the piece is a riff on Deliverance; because Tucker and Dale fit the image of inbred, angsty jungle folk, the teens are so scared for their lives that they, in turn, go about putting themselves in actual danger. There is not much more in terms of plot, save for a cute, tenuous romance with Tucker and one of the teens, so I will not ruin any of the gags, plot twists, or death scenes(!) that make this quite a fun watch for horror buffs. I will say that as the titular duo, Reaper's Tyler Labine and Alan mothafreaking Tudyk are absolutely sweet, well-rendered, and hilarious; if you did not buy the well-meaning sincerity of their rough-around-the-edges characters, the entire film would fall apart. Katrina Bowden, the resident "hottie" of 30 Rock, also warrants mention for playing it straight and irony-free (unlike on 30 Rock) as the love interest; in a nice spin on the typical horror lead role, she is separate from her friends in her understanding that there is NO threat, as opposed to her being the savvy survivalist a la Jamie Lee Curtis or Neve Campbell. The movie has a sort of half-indie, half-DTV feel to it, sort of like David Arquette's similar, but more freakish The Tripper, but it only serves to highlight the absurd and over-the-top tone of the film; a big-budget sheen on this one, along with bigger names in the starring roles, would have taken the piss out of the whole thing. I am not saying that this is Shaun of the Dead, or even Cannibal: The Musical, but it is a fun, diverting flick that tickles its core audience (read: horror fans) to the bone.

Recommended for savvy horror fans, specifically those familiar with the subgenre of films like Texas Chainsaw Massacre, Wrong Turn, and The Hills Have Eyes. There is a cuteness and sincerity on display here that elevates it above purely comical exercises like The Tripper

P.S. There is a tacked-on, probably reshot ending that is hokey and doesn't really fit with the rest of the film, but it does keep the tone from seesawing completely over to one side of the horror-comedy balance.

Nothing Lasts Forever (1984)

A surreal, thoroughly original comedy about a young man who goes to New York City to make it as an artist, only to discover that the Port Authority has hijacked the city into a repressive, function-oriented dystopia. Zach Galligan from Gremlins plays the lead, an amiable, fresh-faced small-towner who is determined unfit to be an artist, and is forced to work the tollbooth at the Holland Tunnel. He attempts to break through the art world by proxy, only to find it is a dense, insular subculture where absurdism is mistaken for poignancy, and superficiality dominates. Eventually, he discovers a society of divinely-wise homeless people, and is tasked with saving the moon. Oh, and the entire film is presented, in style and tone, like a Frank Capra film from the '40s.

The film was written and directed by Tom Schiller, who contributed many short films to SNL over the years, and this film is somewhat in the style of his more bizarre, surreal work for that program. Although clearly well-versed in classic Hollywood, Schiller is not content with merely aping the era, but rather using it to portray his bizarre story in a way that carefully treads the line between camp and sincerity. If the film was an empty excercise in style, it would not warrant a feature film, but Schiller and Galligan provide enough genuine, irony-free substance that the narrative is simultaneously completely silly and thoroughly engaging. There is a climactic musical number by Bad Santa's Lauren Tom that achieves an obscure, fragile poignancy that very few films of the era evoked, especially the mainstream comedies. The presence of Dan Aykroyd and another classic SNL alum (he's credited, but I refuse to specify who due to the perfection of his opening moments) ensures some familiar, straight-laced comedy, but mostly, the laughs are in the sheer absurdism of Schiller's storytelling methods and 1940's sensibilities. It is a fantastical, dreamlike film, and warrants a greater appreciation than it currently receives from academia (though that is most likely due to its lack of DVD availability).

Highly Recommended for fans of more original, anarchic comedy, or of old 1970's SNL. The film can be seen here, or can be downloaded off of a VHS copy on Bittorrent. There is genuinely nothing quite like this movie; a true lost classic.

No Such Thing (2002)

Interesting, but sprawling fable about a young journalist who, while looking for her murdered fiancee in Iceland, discovers a surly, yet inexplicably American-accented monster, and, of course, befriends him. Sarah Polley plays the lead character, an ambitious young reporter who works for power-hungry, cold-hearted cliche Helen Mirren. She convinces Mirren to let her search for her fellow reporter husband by claiming it to be a viable human interest story. She is led to a small Icelandic village where all the bumbling locals are terrified of the nearby monster. They knock her out and send her to his lair in an abandoned missle silo. And their magical, illuminating friendship begins, leading them both on a path of self-discovery that will change their lives forever.

While my tone may imply that this film is a rudimentary, cliched turd of a film, I actually liked it. The director, Hal Hartley, has a way of portraying even the most rudimentary and arbitrary of scenes in such a way that it actually feels original; that Wes Anderson way of playing familiar elements so on the nose, that they come out the other side and magically become fresh again. Things that shouldn't work, do work, such as Helen Mirren's been-there-done-that bloodthirsty media magnate, the coo-coo mad scientist with a history with the monster, and, especially, the monster, himself. Played by vet character actor Robert John Burke under pounds of excellent, inventive makeup, he is a tortured, cynical, bitterly alcoholic pile of misery, in constant pity for himself for being forced to live alongside humans for eternity; Frankenstein by way of Bukowski. If his familiar American sense of humor did not exceed Hellboy proportions, this film could've been a disaster. As is, he keeps the film imminently watchable and entertaining, even if the end result doesn't amount to very much. Hartley is too content portraying things for what they are, disregarding truckloads of potential subtext, and neglects to do anything particularly deep or subversive with the material.

Slightly Recommended for fans of Hal Hartley or the cast, which also includes Julie Christie as a sympathetic doctor. This lacks the immersive, meticulous perfection of Hartley's Henry Fool, but it contains more original and inventive touches than that films sequel, Fay Grim.

Mistress (1992)

Funny, pointed satire of Hollywood involving the efforts of two huckster screenwriters and a producer to make a film that, as it turns out, is just an excuse for the money-men to put their mistresses on camera. Robert Wuhl is the writer of a years-old melodrama revolving around the suicide of an artist unwilling to compromise (gotta love the foreshadowing) who gets a call from desperate producer Martin Landau and his young spec screenwriter saying that they believe they can get financing for the picture. The rest of the film involves Wuhl and Co. pitching the script to various financiers, who each have their own nitpicks with the script, with the commonality that they all want their girlfriends to appear in the picture in a sizable role. Every compromise Wuhl makes to his beloved script is another compromise of his integrity; this film is noteworthy for making the writer, normally portrayed as a beleaguered, passionate artist or a hack, into a confused, aimless narcissist tired of defending a script that only he loves in lieu of making a compromised, but released picture. The directorial style is fairly barebones, letting the play-like dialogue and monologues take full focus, which works here only because of the acting talent involved; the prospective money-men include Robert DeNiro, Danny Aiello, and Eli Wallach, all of whom kill their respective performances, particularly DeNiro's Hollywood hotshot. Wuhl, and, especially, Landau, are both terrifically desperate and pathetic, as is Jean Smart as Aiello's aging stewardess mistress and Sheryl Lee Ralph as the proposed lead actress for the film. The script, co-written by Under Siege and Cannibal Women in the Avocado Jungle of Death scribe J.F. Lawton, is not quite as nihilistic as similar showbiz comedies The Player or Swimming With Sharks, but it definitely portrays Hollywood as a soulless vacuum where all integrity must be checked at the door for any sort of tangible, monetary success.

Recommended for fans of Hollywood-centric comedies a la The Player or The Last Shot, or the stellar cast. I wasn't expecting much of a film with DeNiro, Aiello, and Landau from '92 that I had never heard of, but this one is indeed worth seeking out if the setup tickles your fancy.

The Other Guys (2010)

A hilarious, yet imperfect comedy that involves two sidekicks of New York's number one crime-fighting cop duo, and their attempt to gain respect of their own. Will Ferrell and Mark Wahlberg play the titular Other Guys, a nebbish "forensic accountant," and a loudmouth, pent up hot-shot demoted for shooting someone famous and beloved (a stupid gag that I won't ruin just in case I'm just being a curmudgeon). The Main Guys (who deserved a better shake than they got in this film) are played by The Rock and Samuel L. Jackson, two dudes who definitely know how to play over-the-top action heroes, and they are true to form here in their tragically brief appearance. The plot takes Ferrell and Wahlberg to a jewel heist that was, perhaps, faked to cover up a bigger, more substantive corporate crime. The fact that the film actually has a plot separates it from Mckay's earlier buddy comedies, and it definitely gives the film a life of its own beyond the typical improvised banter and random sight gags; however, it also gives the film a bit of a cap on the humor, as the film cannot derail from logic as severely as Anchorman and Step Brothers repeatedly did. This definitely hinders Wahlberg's character, clearly a riff on "psychos" such as Mel Gibson's Riggs, or pretty much any character who ended up having to be told "He ain't worth it, man" by his partner as he held a gun to a criminal; he runs around the film, screaming about needing to fly like a peacock (in reference to their case) without a smidgen of comedic understanding or timing. Which is a shame, because Ferrell, once again, after Step Brothers, proves he has way more comedic tricks up his sleeve than he likes to let on; his seemingly benign daff hints at his past, which ends up being a priceless slow reveal, and his continual references to his wife, Eva Mendes, as his "plain," "cute, but definitely not hot," "ball and chain." Speaking of Mendes, she's terrific in the film, showing way more chutzpah and comedic range than I believe anyone expected of her (although I liked her in Stuck On You). Damon Wayans, Jr. (I miss his old man on screen) and Rob Riggle play other other guys, an unnecessary, yet mildly amusing equivalent of The Andy's in Hot Fuzz (an infinitely superior film in almost every facet, by the way) who compete with the titular boys to one-up The Rock and Samuel L. While Steve Coogan and Ray Stevenson are also strong in their straight-man roles, the real honorable mention in the supporting cast is Michael Keaton. He turns in, for the first time in years, a thoroughly comic, goofy performance, and the biggest compliment I can give the film is that I had no clue how much I missed this side of Keaton until I saw it delivered in spades here; he is simultaneously subtle and over-the-top in ways that are matched only by Ferrell, who I now suspect may have been influenced by the Beetlejuice star in his work. The action in the film is surprisingly effective, particularly in a two-fisted office shootout set to The White Stripes' "Icky Thump", but still comes shy of the third act extravaganza of the similarly themed Hot Fuzz.

Recommended for fans of over-the-top PG-13 action comedies a la Hot Shots, or Mckay and Ferrell's previous films. For me, this ranks below Anchorman and Step Brothers, but probably on par with Talladega Nights; while it does not have that film's penchant for random insanity, it does have a stronger sense of character and story that would make the film much stronger, had Mark Wahlberg been such a desperate, overeager dud. Dirk Diggler was a fluke, everyone, it's okay, we'll always have his 5 goofy minutes or so in The Departed AND I Heart Huckabees if you can stand the existential jargon.

Meet Wally Sparks (1997)

Dogshit, cheap comedy about a talk show host a la Jerry Springer who begins shooting his riotous show from within the walls of the Governor's mansion...seriously. I hate to fault a plot for the reason of a comedy's failure, but Jesus, watching this movie play just seems sad, like they're not even trying. Rodney Dangerfield plays Wally Sparks like a boring version of himself, but the films few laughs are from lines taken straight from his stage routine (and from a Tony Danza cameo...sigh I can't believe I watched this fucking movie). To impress TV exec Burt Reynolds (again...sigh), he classes up his act by tearing shit up not on his own soundstage, but the house of the conservative, family-values oriented governor. I feel retarded just writing that out. But for those of you who think that's the set up for a laugh riot, well, it isn't. Most of the film is slapstick humor about how Dangerfield's presence turns the mansion upside down; for example, he plays Old Time Rock and Roll while old women in their jammies slide down the hallway on their socks (I'd sigh but there's no air left to sigh out). The funny people, Dangerfield included, just stand on the sideline watching props (and dignity) get destroyed, hoping people will think it's funny (they didn't; this was pretty much DTV).

SKIP IT. This has a very Chairman of the Bored vibe going through it, and it doesn't even have Larry Miller trying to schtupp 60 year old Raquel Welch (which, admittedly, was pretty awesome).

The Discreet Charm of the Bourgeoisie (1972)

Humorous, multi-layered concoction by legendary Luis Bunuel involving the dining and living habits of several Bourgeois Frenchies. The central joke of the piece, which I won't ruin here, involves dreams, trips to dine, and the superfluous and interchangable nature of the working class in relation to the middle; the faces of servants, chambermaids, waiters, and even priests seem to blend together into a general subservient mass. Fernando Rey plays the central Bourgeois pig, an ambassador to a Central American country who uses his position to smuggle cocaine, which he reaps huge profits off of as he promotes values and moralism to his dinner companions. He is funny, but the dream-like nature of the narrative only allows him to be that, amusing, rather than well-drawn or deep, unlike his character in Bunuel's That Obscure Object of Desire, which was a tragic victim of his own mortal follies. Much of the movie is pointed satire, and it is successful, but it is only that; Bunuel's obvious hatred for the stereotypes and chariactures he is representing keeps anything of emotional resonance from occurring, as the characters are all lifeless, all-consuming drones. Still, much of what is on display is relevent in any classist society, and the satire truly does breach national and temporal barriers to make it truly relevant, even today. Bunuel's eye for imagery was in full effect, and the scenes here have a haunting, stylized quality that elevates the film, on a superficial level, from boring domestic drama.

Recommended for fans of Bunuel, French and Spanish surrealism, or satires of middle-class life. I am not currently well-scholared in Bunuel's work, having seen only this, Un Chien Andalou, and the aforementioned Obscure Object of Desire, but of the three, this is the weakest, and most superficial.

Series 7: The Contenders (2001)

Hilarious mockumentary set up as a reality show following 6 people around as they try and achieve the show's goal: murdering the other 5 contestants. Each contestant is given a 9mm and a list of the other players, and must stay within the confines of the contestants' home town or they will be hunted down and murdered by the show's own "SWAT" team. The film was shot on video, and has a distinctly Cops-esque feel, before the reality TV scene became so glossy and over-produced that it makes this film look like a home movie. Brooke Smith plays the protaganist, an 8-month pregnant woman who has survived the show multiple times, but stays and fights on for the welfare of her unborn child. Smith, who's only prior role that I know of was the woman in Buffalo Bills hole (the ditch.) in The Silence of the Lambs. Here, she drops the helpless victim and takes charge; cantankerous and bitter, she kills relatively mercilessly while humorously screwing with their heads to ensure her advantage, until it turns out one of the contenders knows her from her more vulnerable past. The other cast members are very exceptional and real; you remember their faces and their plights, and sympathize with them when they make the decision to kill, or when they bite it themselves. Will Arnett narrates the whole thing as an EXTREME tv show (prob on Fox), adding his patented "Club Sauce" delivery to the films already thoroughly satiric tone.

In some ways, the movie is funnier than Man Bites Dog, but not as provacative. The focus here is on reality tv and exploitation, not on dehumanization. The deaths are played almost straight, and there are scenes of true pathos here. The reality TV format, and the unknown cast, allows you to accept the world that is presented, and I completely forgot the absurdity of the premise and got caught up in the plot. Even when the film begins to take itself more seriously (in its own way), I did not cry bullshit because the reality had been sufficiently set up. This is not another American Dreamz, where the reality of the reality show was as tenuous as Chris Klein's acting, but a legitimate satirical exercise.

Highly Recommended. This film was made after Survivor and Who Wants to be a Millionaire, but is more relevant than ever; the kicks you get while watching the human drama unfold with the murders shed a lot of light on the appeal of many of today's reality shows. This is an indie that did not want to be something else, but took its underground appeal and ran with it.