Movie Review Sunday

Tim and Eric's Billion Dollar Movie – 2012 (R)

Netflix says: All-star cameos spice up the comedy chaos in the movie debut of "Adult Swim" favorites Tim Heidecker and Eric Wareheim, who portray two numbskulls revamping a decrepit mall to repay the billion dollars they wasted while preparing their first film.

Matt says: I will sing the praises of “Tim and Eric’s Awesome Show: Great Job!” until the day I die. The eleven minute long Adult Swim show is an encapsulated mind trip through old UHF programs, surreal set pieces, and a troupe of freaks that rival those of Tod Browning’s film. Unfortunately the transition to film is more rocky than other comedy troupe’s ventures. Part of the joy of Tim and Eric is their short-but-sweet homages to a viral age birthed from public access television (it’s not all singing, but those are some of my favorite clips). When lengthened to an hour and a half, all the “all-star cameos” can’t even save it from succumbing to a joke stretched too far. There is a lot to like about this movie… hell, it’s Tim and Eric! But it also overstays its welcome repeatedly throughout the viewing. I was disappointed that it didn’t live up to the show, but I also half expected it not to. Something like “Tim and Eric’s Awesome Show: Great Job!” isn’t meant for the big screen. Fortunately, though, they have been producing John C. Reilly in a spin off of their show called “Check It Out! with Dr. Steve Brule” on Adult Swim, which is worth watching more than this. That they also stoop to multiple potty jokes just reinforces my disinterest in the movie. It’s a shame, because I really like them. But, I am going to have to say that even fans of the show should skip this one. 2 1/2 stars. (Just for fun… The most well received review for this on Netflix is a five star review that says this: “Excellent documentary on the manufacture of modern sponge. From inception to distribution through global sales channels, an otherwise mundane topic is covered in sufficient detail to keep any sponge aficionado suitably engaged. 7.3/4.882-Q-alpha.” That review brought me more chuckles than the movie itself.)

The Cabin in the Woods (Spoiler-rific review) – 2012 (R)

Netflix says: In this twisted thriller from Joss Whedon and Drew Goddard, five friends arrive at a secluded cabin with clear instructions for their anticipated mountain getaway. But when the rigid rules are broken, punishment is swift -- and everyone will pay. Kristen Connolly, Jesse Williams, Anna Hutchison, Fran Kranz, Chris Hemsworth and Brian J. White star with Richard Jenkins and Bradley Whitford in this surprising spin on a classic horror setup.

Matt says: Ok, so you may have seen my first review for this. Well, after much discussion, the idea wheels started turning. Credit for this comes from a post on a Longhorn message board a friend of mine reads. He relayed the information to me which I am now going to expand on. This is a review for those who have seen the movie, so DO NOT read it unless you want the film ruined for you. Read this after seeing it for an interesting take on the ideas expressed (and a more likely meaning behind it than my first review).

Cabin in the Woods is as much a fuck you to Hollywood and modern horror films as it is an homage to the genre of the past. The original idea the message board person came up with was this: The “agency” is Hollywood and the audience are the old gods, being fed entertainment to appease their appetites. The cabin teens gradually morph into their stereotypes as so many characters in modern horror are. All the monsters are the bulk of ideas that Hollywood has and whatever is popular is chosen (it happens to be zombies/the undead these days). The Hollywood executive that picks the next thing wins the bet. Japan has been leading in originality, but even they are losing their audience now. Its similarities to “Scream” are looks back at the last original modern horror film. In hindsight, these ideas opened some interesting thoughts of my own.

Maybe the audience isn’t the gods, but the teens themselves. We’re free to pick what’s cool next, but Hollywood is then going to take what we picked and beat it into us until it kills us. And, as the creature-of-the-week is forced upon us, we just get stupider and feed into the bullshit. The gods are originality (the earliest original modern horror monsters were Lovecraft’s old gods). If we stop watching the mass produced horror, don’t follow what Hollywood expects from us, and flush the reused monsters, the creative old gods can be released. Even the "Pinhead” creature, that was once original, seems sad that he is caged and recycled over and over again. There’s the one Hollywood producer that wants to shake things up a bit and use a monster that may not be popular (the amusing mermen in the film), but he ends up getting shot down… and if he pushes an unpopular idea enough, it will wreck his career.

There’s much more subtleties to pick up on, but I honestly will need to see the movie again to see. I was enamored in my first viewing and knew I was seeing something special, but the “what’s the big secret?” prevented me from seeing the bigger picture (another intentional middle finger by the filmmakers that I bought in to?). Whatever the true symbolism, a movie that can spark ideas like this make it an even better film. I originally gave it 4 1/2 stars, but after fertilizing these ideas, it gets 5 stars. So, keep all this in mind and go see it again… and this time bring someone who hasn’t seen it.

The Sitter – 2011 (NR)

Netflix says: Jonah Hill stars in this giddy comedy about a student whose suspension from college leaves him available to baby-sit his mom's neighbors' children. The poor guy, however, has no idea what fate and the kids have in store for him.

Matt says: There are two types of “unrated” releases of comedies on DVD that were released as rated “R” in the theater. The first is the movie that’s padded out for the home release after the fact, usually by the studio heads forcing the filmmakers to film additional footage that isn’t even part of the script (a technique that was mercifully rebelled against by the makers of “Sex Drive”. Seriously, rent the unrated version of “Sex Drive” for a great laugh). The second is the movie that needs to alter some of its more raunchy jokes to get the MPAA to bless them with an “R” rating for the theatrical release. Of course, the later is the better unrated film when released for the home market and what I always hope for when renting an “unrated” version of an “R” rated movie. That being said, I chose to get the unrated version of “The Sitter”. I wasn’t really counting the days until this was released as it looked pretty generic in the trailers. It’s charming, but predictable… you’ve seen it all before in “Adventures In Babysitting” and other similar flicks. It does have its moments of humanity, but they’re pretty typical. For what it is, it felt like it was made this way and cut later for the release in theaters (especially since the “uncut” running time is still only an hour and a half), which I can respect. All in all, not too bad, but it would’ve been the same movie without the kids. It could’ve easily been “Jonah Hill’s adventures being a fat guy in the midst of moral quandaries”, but then it wouldn’t have had the babysitting gimmick to bring in the “I can’t believe that kid just said that”s and the “awwww, they all learned something”s. I laughed a few times and liked some of the more surreal moments, so I can easily give it 3 1/2 stars.

Norwegian Ninja – 2010 (NR)

Netflix says: Convicted as a traitor by the Norwegian government, Arne Treholt is an enigmatic character in the annals of European Cold War espionage. This quirky offering adds a satirical layer to his tale, imagining Treholt as the leader of a secret ninja force.

Matt says: Loosely (loosely being the operative word here) based on a real spy, “Norwegian Ninja” had everything it needed to be a great, great film… but it failed miserably. It’s filmed like a 70s spy flick with spot on costumes, attitudes, film stock, and set pieces. Also, the film makers bump it up a notch with cheesy ninja action, stereotypical dialog, cheap models, and a sense of adventure that feels like a Bond film, Tarantino film, or even a Doc Savage adventure. Yet, it’s all bogged down by politics and a plot so convoluted it makes “The Phantom Menace” look like “Sesame Street”. I should’ve realized it would disappoint when the producers turned out to be the same people who backed the mediocre talking-Nazi-zombie flick “Dead Snow”. I really wanted to like this (as I also wanted “Dead Snow”), and the aesthetics are boner-inducing… but the convoluted storyline and dead-pan dialog bored me to tears. 2 stars.

The Myth of the American Sleepover – 2010 (NR)

Netflix says: Facing personal and interpersonal crossroads on the last night of summer vacation, four high school friends wander the streets of suburban Detroit, each taking the first tentative steps into the world of adulthood in this thought-provoking drama.

Matt says: “The Myth Of The American Sleepover” makes the same mistakes as most modern indies flicks. It starts off as a charming film about middle school/early high school students and their neurotic (and insecure) naivety when it comes to life, relationships, and being comfortable with themselves. Unfortunately it degrades into a stiff performances of brooding teen angst with no real sense of purpose. It seems like a typical coming of age movie, and although the central players do learn a little about themselves, the lack of any change of pitch in their voices or sign of life in their frozen faces detracts from the movie’s central themes. Think “Twilight” meets “Dazed and Confused”… without the vampires and werewolves of “Twilight” or the fun, comedy, and heart of “Dazed and Confused”. What’s left is not bad, but not good. That it takes place roughly in the time of my own development (though it’s never mentioned, it appears to be late 80s or early 90s due to several visual cues) makes the lack of emotion that much more disappointing. It’s also painful when a modern indie song comes on during a supposed period piece, droning monotone indie musings instead of a song of the times (they do mock the music of the era with copyright free imitations, but not for the seminal moments… only for one-off nostalgia scenes). This could have been the next “Dazed and Confused” updated for my generation, but instead ended up trying too hard and failing due to it. Maybe it was budget related or not… but next time, Mitchell, don’t cater to modern audiences. Modern audiences give less of a shit about your childhood than someone your age (like me). You alienated all of us by trying to please both. 2 stars.

Everything Must Go – 2011 (R)

Netflix says: Director-writer Dan Rush makes his film debut with this dramedy based on a Raymond Carver short story about Nick (Will Ferrell), a good-hearted but relapsed alcoholic who decides to live on his front lawn after losing his job and being thrown out by his wife.

Matt says: Will Ferrell has two distinct acting styles: one is the over-the-top caricature and the other is the straight-yet-humorous every man. As much as I enjoy him being outrageous, I enjoy when he plays it straight much more. In this he plays the role with so much heart and intensity that it is his truest role to date. It’s funny, but not hilariously so. In fact, this tends to fall more into the drama category than the comedy one. Ferrell’s character is hurt, flawed, sad, and very real. It’s easy to relate to his problems, even if you have never experienced them, as we all have imagined what would happen in situations such as his. It’s the same as watching a reality show about a person arrested for a petty crime and being thrown into jail with hardened criminals. We know that there’s a possibility of something like that happening to us if we fuck up bad enough, so we choose to walk the straight path. Ferrell’s character makes one too many mistakes and ends up in an adult nightmare of red tape, rejection, poverty, and loneliness. Yet, he does what most of us would do in that situation and that’s what pulls the viewer in. It’s not a great movie (it can lag at times), but it’s entertaining and short enough to keep you engaged. Life can bring you down, it can crap on you, and then it can rain a shit storm on you. We all dread the shit storm, and it can feel unbearable, but life goes on and, if you have a good head on your shoulders, you have to remember that you won’t stay at the bottom forever. 3 1/2 stars.

Hesher – 2010 (R)

Netflix says: Struggling to accept the death of his mother, T.J. (Devin Brochu) befriends Hesher (Joseph Gordon-Levitt), a twentysomething misfit who becomes both a mentor and a bad influence on the lost and awkward teen. Hesher soon invites himself to live with T.J. and his self-medicating dad (Rainn Wilson). Their bizarre relationship is tested when T.J. develops a crush on a supermarket checkout girl (Natalie Portman) who rescues him from a gang of bullies.

Matt says: Amusing indie flick will strike a chord with anyone who grew up in a suburban US in the early 1990s. Everyone knew someone like Hesher then, whether directly or indirectly. Gordon-Levitt is becoming quite the notable actor of late and in this he fully absorbs himself in the role, proving his mantle once again. Wilson is at his best where he’s most comfortable, in quirky independent movies with a little edge. And Portman is as sexy, talented, and wonderful as ever. Overall, a fun movie with some dark tones that equally elicits laughs as well as tugs at your heart (as well as has one of the best elegies I’ve seen on film). It’s an unlikely friendship, but there have been stranger real and fictional relationships than a 20 something metal head and a 15 year old kid. 4 stars.

Arthur – 2011 (PG-13)

Netflix says: Recasting the 1981 comedy classic starring Dudley Moore, this romantic chuckler chronicles the dilemma faced by philanderer Arthur Bach (Russell Brand) -- whether to give up a respectable life and an inheritance of millions for the sake of romance. Jennifer Garner co-stars as Susan Johnson, the gorgeous socialite that Arthur's family has chosen for him. Greta Gerwig plays Naomi, the girl who steals Arthur's heart in the meantime.

Matt says: Russell Brand is a lot like Dudley Moore: they both have reached enough comedic fame in the UK to garner attention in the US, but never can really find their ground here. Each had that one rated R film early in their US career that had enough nudity and drug references to make it edgy and fun, but then was followed by a mediocre version of “Arthur”. At least Moore really hammed up the alcoholism in his version. He slurred his words with aplomb and that cackling laugh was infectious. In Brand’s “Arthur”, the alcoholism is more depressing to witness because he plays it as: a problem that only hurts him... not very comedic sounding, is it? Maybe this is due to cleaning up in real life before filming this, or because Hollywood wanted to send a message to the kiddies, but it wasn’t even necessary to having him even behave drunk in this version except that it was done in Moore’s film. It’s a shame, because I loved Brand’s alcohol and drug fueled adventured in “Get Him To The Greek” and expected this to be a semi-sequel. Instead, you feel guilty laughing at his exploits and some very talented people are wasted (Mirren especially). This is bound to become one of those films endlessly rerun on Comedy Central at 4pm on Saturdays. That’s not a good thing. 2 stars.

Back to the Future Part III – 1990 (PG)

Netflix says: The final installment of the Back to the Future trilogy finds Marty (Michael J. Fox) digging the trusty DeLorean out of a mineshaft and looking up Doc (Christopher Lloyd) in the Wild West of 1885. But when their time machine breaks down, the travelers are stranded in a land of spurs. More problems arise when Doc falls for pretty schoolteacher Clara Clayton (Mary Steenburgen), and Marty tangles with Buford Tannen (Thomas F. Wilson).

Matt says: The weakest film in the trilogy should only be watched for closure on the series. Part II ends on a cliff-hanger and, since this was filmed roughly around the same time, Part III is necessary to wrap things up. Throughout the film Doc keeps mentioning what a huge mistake it was to make the time machine and how, when it’s all said and done, it will be destroyed. (Spoiler Alert) When it finally is, we find that Doc has made another one and is taking his family around changing history wherever he sees fit. I know the first and second movies pretty much gave suspension of disbelief a vacation, but Part III just throws it all out the window. Anyway, it’s mostly a western with Fox playing the fish out of water routine again, but this time everything feels over done. Not the greatest way to wrap up the trilogy, but still a must for fans of the first two. 3 stars.

Back to the Future Part II – 1989 (PG)

Netflix says: Marty (Michael J. Fox) and Doc (Christopher Lloyd) are at it again in this wacky sequel to the 1985 blockbuster as the time-traveling duo head to 2015 to nip some McFly family woes in the bud. But things go awry thanks to bully Biff Tannen (Thomas F. Wilson) and a pesky sports almanac. In a last-ditch attempt to set things straight, Marty finds himself bound for 1955 and face to face with his teenage parents -- again.

Matt says: Even though it’s vision of the future is completely skewed (really, faxes will be the way to communicate in 2015?), and the time travel is as flawed as the first, this is the best film in the trilogy. I love the alternate time-lines, jumping back to the events of the first film to have a parallel second set of events performed, and that it is a little bit more on the dark side than the other films. You really need to have seen the first film to fully appreciate it, but as sequels go, it’s one of the rare ones that surpass the first film. 4 1/2 stars.

Back to the Future – 1985 (PG)

Netflix says: In this classic sci-fi adventure from director Robert Zemeckis, eccentric inventor Doc Brown (Christopher Lloyd) turns a DeLorean into a time machine that inadvertently sends his young friend, Marty McFly (Michael J. Fox), 30 years into the past. While stuck in the 1950s, Marty disrupts his parents' destiny and risks throwing the time-space continuum completely out of whack. The only way back to 1985 now is to get mom and dad to pucker up.

Matt says: The original “Back to the Future” is a solid, entertaining, adventurous film. The time travel elements are there, but take a back seat to Fox’s “fish out of water” adventures in the 1950s. It’s really difficult to make any sort of time travel movie without a couple of paradoxes, so “Back to the Future” says “screw it” at the end and forces you to accept that, yeah, that’s what happened and the parents still had the same kids and Fox still has the same relationships as before time is skewed and you whipper-snappers better just shut up and believe it! It gets ridiculously tense at the climax, so much so that it become laughable, but I think that’s all part of the fun. Aside from a few curse words, there’s really not much keeping the whole family from enjoying it. It also holds up surprisingly well for being 27 years old. 4 stars.

Diary of a Wimpy Kid: Rodrick Rules – 2011 (PG)

Netflix says: Greg Heffley returns to overcome ridiculous obstacles in this sequel to the first Diary of a Wimpy Kid adaptation, based on the books by Jeff Kinney. This time around, Greg must cope with the habits of his insufferable brother, Rodrick.

Matt says: More family friendly high-jinx with the same cast from the first film. This time the focus isn’t as much on self discovery as much as it is on interpersonal relationships. There’s still the same mixture of goofy humor, pre-teen angst, and borderline disgusting humor (though the opening chocolate bar/poop joke did illicit a hearty laugh from me at its climax). What can I say? It’s between seasons of my favorite shows and the HBO HD on-demand selection was pretty thin. Still, I didn’t hate the first one, so I gave this a chance too and came out of it just as mildly amused. Again, your pre-teens will love it. 3 stars.

Diary of a Wimpy Kid – 2010 (PG)

Netflix says: Middle school isn't all it's cracked up to be for self-described "wimpy kid" Greg Heffley, who discovers a frightening new world teeming with boys who are taller, tougher and hairier than he is -- and decides to document it all in his diary. Directed by Thor Freudenthal, this kid-friendly comedy based on Jeff Kinney's illustrated novel cast its star by asking kids to submit their auditions online.

Matt says: Typical family-fare is mostly harmless and captures all the insecurities of a new middle-schooler pretty well. Of course, it’s not as torturous as the film makes it out to be, but kids can be pretty cruel at that age regardless. And, according to the movie, having an emotionally underdeveloped geek of a friend makes middle school that much more difficult. But really, the central theme of “trying to find yourself and realizing that you just need to be yourself” keeps it’s strength between the moldy cheese and hairy freckle jokes. I wouldn’t say it’s “The Goonies” of the ‘10s, but the kids will dig it. The best part for us adults is that we all know adults like the ones portrayed in the film and (arguably the best part of the film) the throw-back-to-the-‘80s film about friendship the kids watch in their class. 3 stars.

The Hangover: Part II – 2011 (R)

Netflix says: In this booze- and laugh-soaked sequel to The Hangover, the buddies from the earlier film's bachelor party reunite for a wedding trip to Thailand where one of them, Stu Price (Ed Helms), is planning to tie the knot. Stu is determined that his own pre-wedding party should be a restrained and dignified affair, but between the habits of his friends and the multiple distractions of Bangkok, fate has other plans in store for him. Todd Phillips directs.

Matt says: You’ve probably heard that this is pretty much “The Hangover” done again. And it is. Just not as good and with the unnecessary addition of ladyboy cock. Rent the first one and forget this one even exists. 2 stars.

The Change-Up – 2011 (R)

Netflix says: In this contemporary reality-warp comedy, single playboy Mitch and responsible husband-father Dave are best buddies who want each other's life -- and they get the chance when they magically swap bodies after a night of drunken revelry.

Matt says: Have you seen “Freaky Friday”, “Like Father Like Son”, “13 Going on 30”, “Vice Versa”, “18 Again!”, or “The Hot Chick”? How about any of the countless sitcoms that have used the “Body Swap” trope? Well, I am sure you have, so you know what happens in this. If, on an odd chance, you haven’t, let me wrap it up: two very different people switch bodies, first hate it, then enjoy it, then miss their old bodies, and finally switch back and realize they are just fine as their real selves/the other person has it as tough as they do/everyone is the same inside. So, on to why this movie creeped me out. No, it wasn’t that the movie opens with Bateman getting a mouthful of baby diarrhea. But, as a side note… REALLY?? That’s how you’re going to open your movie? No… it’s not that. It’s the CGI. “Now wait Matt,” you start to say, “this is just a body switch comedy. Why does it need CGI? Is it the magic special effects when they switch bodies that’s done in CGI?” Nope. When they switch bodies the lights go out. That it. No… it’s that every boob shot and baby in motion was enhanced by CGI. The babies move unrealistically and it’s obviously some animator dragging them around with a mouse. And, worse than that, there’s a sequence could’ve been from the “Baby Geniuses” cutting room floor, complete with babies throwing knives and having them stick in the wall per a professional knife thrower. Tone it down guys. It’s rated “R”. We don’t need baby CGI to laugh. As for the women, It gave all them a disgustingly unreal plastic look. I understand that actresses sometimes don’t want to do a nude scene, but for fuck’s sake, until the technology is perfect, and I MEAN PERFECT, use a body double. It’s more effective, real, and satisfactory. I’ve read about this crime of CGI happening and it never looks good. There’s even a side-boob shot of Olivia Wilde with a shadow of a nipple… and I can’t even trust that! My problem isn’t all about fake babies and boobs, it’s that CGI is being used too liberally for unnecessary reasons. Human beings can smell bullshit and it detracts us from the fantasy. Like CGI blood that never leaves a stain, it is a cheap and shotty way to do special effects. My final gripe is with the DVD. Just like “Green Lantern” screwed me on the transfer, “The Change-Up” fucked me with their disc. The quality was fine, they didn’t force the trailers, and all the extra features were cut… better than typical for a rental DVD. No, the crime was they even cut out the unrated seamless branching scenes. Really? If I want to see 5 minutes extra (check the “Other Info:” here for the difference in running time) I have to pay $20 to buy the disc? I can understand the extra features as, really, only people who would want to see the behind the scenes, blooper reel, and trailers would be a fan enough to buy it anyway. And, they deserve all that for paying for a mediocre movie. But, to deny renters the choice to see 5 minutes more of their crappy film? It just doesn’t make sense. I’m not buying your shitty movie for 5 more minutes guys, so cut this shit out. Ok, back to the film. I did have a few laughs, but it is awfully crude. I’m going to have to go 2 1/2 stars.

Friends with Benefits – 2011 (R)

Netflix says: This raucous rom-com chronicles the relationship of two busy singles, Dylan (Justin Timberlake) and Jamie (Mila Kunis), who agree to include sex in their friendship -- minus the emotions and commitment. But things get complicated.

Matt says: I hate EVRYTHING about the Netflix description. “rom-com”? “But things get complicated.”? “to”? Look, if Timberlake and Kunis weren’t in this, and if the idea behind it didn’t seem somewhat genuine, I wouldn’t even look at it twice. “Rom-coms” are NOT my thing. Yet… this was kind of a fun film. It’s rated “R” mostly for the cursing (they do live in New York, duh) and the “sex” (Timberlake’s butt, a body double for Kunis’ butt, and then simulated sex with sheets that never leave Kunis’ private areas no matter how much motion is going on). I like that they attempted to break away from the typical rom-com conventions by having Timberlake and Kunis actually like each other, I liked the funny-but-true sex scenes, and I just love Kunis in general… damn, she’s awesome. Yet, and I hope I’m not spoiling this, it ends up being what it was so against at the beginning. Not that there’s anything wrong wi… you know, there is something wrong with it. Why do the couples in these movies always have to get together at the end? Why, when this movie so explicitly said how cliché romantic comedies’ endings are, does it go down the same horrible road? Why must someone have a sick relative to make the other feel a touch more sympathy for them and therefore closer? It sells tickets, I guess. Anyway… this started pretty cute and fresh, but ended up being the same crap you get in a Hugh Grant movie, just with less quirky British accents. I was already too vested in it before it went the way of “Pretty Woman” (and every other rom-com that followed it) to absolutely hate it when it ended. And, you can do a hell of a lot worse than this film in the “rom-com” genre. So, I’m going to have to give it 3 stars. Just don’t tell anyone, ok?

Edit – I just realized we don’t have “Romantic” as even an option for a tag. Ha! I guess this is just going in to “Comedy”.

Fargo – 1996 (R)

Netflix says: Police chief Marge Gunderson -- a serious sleuth who's sharper than her folksy accent suggests -- is hot on the trail of a Minneapolis car dealer who conspires with two kidnappers to snatch his wife so he can pocket part of the hefty ransom.

Matt says: The Coen Brothers have a unique way of looking at the world. They see humor in stereotypes and (lovingly) exploit them for their films. In “Fargo”, the victims are North Dakota and Minnesota's northern sensibilities. The Coens open the movie with a statement that it is based on a true story; that’s horseshit. Yet, the characters are so dynamic, and the way they react to their situations are so realistic, that it very well could be a true story. The Coens know northern America and the characters they depict are exactly the type of people you would find in small towns in the north. The accents and ways of speaking are so dead-on that they transcend parody, being as humorous as they are true. “Fargo” is an excellent example of how to make a movie right. Get a central plot, build three-dimensional characters to participate, and back it all up with stunning cinematography. Love or hate the Coens, “Fargo” is one of their best films. If you’ve seen their other “caper” thrillers, you know what to expect. If not, this is a good entry to get started. 4 1/2 stars.

Liar Liar – 1997 (PG-13)

Netflix says: Lawyer Fletcher Reede's (Jim Carrey) mendacious ways destroyed his marriage and alienated his son, Max (Justin Cooper). But when Max makes a birthday wish that magically comes true, Fletcher finds himself incapable of telling a lie for 24 hours. That's great news for Max and his mom (Maura Tierney), but terrible timing for Fletcher, who's due in court to try a major divorce case. Carrey earned a Golden Globe nod for his role in this broad comedy.

Matt says: Throughout watching this, I couldn’t for the life of me think of who the target audience was when the studio executives were engineering it. It’s really raunchy for a PG-13 movie, so kids wouldn’t get most of the jokes. But, when Carrey goes all spazzy and ballistic, I can’t see any adult laughing at him. Worst of all, the ending has Carrey becoming a better person and his divorced wife takes him back (come on… I didn’t spoil it… once you start the movie you know that’s going to happen at the end). It sends the wrong message to any children watching: Hey kids! If you wish hard enough, that neglecting father will become the father you’ve always wanted! Yeah, that normally doesn’t happen. By the time this was made, the world was already getting tired of Carrey. That all his gags seem overly familiar when you watch it just makes it unfunny. I would say this is one step above a modern Adam Sandler movie only in that there is only one fart joke (instead of multiple). 1 1/2 stars.

Your Highness – 2011 (NR)

Netflix says: When a twisted wizard kidnaps the virginal fiancée of a valiant prince, his ne'er-do-well brother grudgingly joins his sibling on a quest to save the beautiful damsel. Along the way, the duo meets their match in the form of a fetching female warrior.

Matt says: It’s hard to find good fantasy movies these days. The only adult oriented fantasy movies I could think of that have even just come out in the past few years have been not very good. “Your Highness” exceeded my expectations. It’s a solid fantasy movie with enough humor to make it fun. Before this, Danny McBride played supporting roles to other comedians. In this (in which he also wrote), he shines as the slacker brother to a hero prince and shows that he too has star power. He seems to channel a “Big Trouble in Little China” Kurt Russell in this role. Franco plays the same “sleepy self” personality that he plays in real life and is the weakest part of the film. The big surprise is Portman… as in, “How the hell did they get Natalie Portman for this?”. She is absolutely stunning and absorbs the screen whenever she’s on it. As for the movie, it’s funny, adventurous, and crude… just how I like it. It never grossed me out, but it does push the levels of taste. Where something like, oh, say, any Adam Sandler movie pelts the audience with unnecessary fart and pee jokes, “Highness” only pulls out the dick jokes when they can take you off guard for a good hearty chuckle. Much like “Krod Mandoon”, “Your Highness” effectively blends fantasy and humor, without sacrificing either. I saw the unrated version, so I can’t really comment on the theatrical release, but there was some f-bombs that could’ve been cut. They just failed at hitting the humor mark. Others, though, happen right on comedic timing and will illicit a smile. It’s a shame this didn’t do better in theaters as films like this aren’t made often enough. 4 stars.

Bad Teacher – 2011 (UR)

Netflix says: Cameron Diaz stars as Elizabeth Halsey, a scheming and coarse-tongued middle school teacher who gets dumped by her wealthy boyfriend and rebounds by sinking her claws into a handsome substitute teacher (Justin Timberlake).

Matt says: “Bad Santa” was a pretty good movie, but only on repeat viewings. The first time I saw it, I was grossed out, slightly offended, and didn’t really laugh much. The “second chance viewing” I gave it elicited a better response from me. I guess, due to the content, I just couldn’t stomach it the first time around, but was desensitized enough the second time to see the humor behind it. After a few more viewings, I saw an undeniable charm. Although “Bad Teacher” wanted to be like “Santa”, it pretty much misses the mark. Diaz is a self absorbed asshole in it, but is just not “bad” enough. There’s little offensive, little gross, and even littler laughs. Ok, so one or few times I chuckled… but, for an hour and a half, and having “Bad” in the title, I expected more. The cast did the best with what they had, but it all comes off too innocent. Even when Diaz is rolling around a car hood in short shorts or smoking weed, it is missing an edge. I know they’re completely different films, but it’s more than obvious they used the title to spark a little name recognition to help sell tickets. Tell you what, guys, next time you want to associate your movie with another one, at least live up to the title. It’s a bit boring, but the few laughs it gives are solid enough. I would wait for Comedy Central to pick it up before watching (which they will, and repeat endlessly) as the tit scenes and curse words that you will miss on basic cable don’t matter in the long run. Fun fact: Jason Segel gained 60lbs for his role as gym teacher in thi… wait, what? He didn’t do it for the movie? Oh… 2 1/2 stars.

Tucker & Dale VS Evil – 2010 (R)

Netflix says: Backwoods boys Tucker (Alan Tudyk) and Dale (Tyler Labine) expect a relaxing vacation at their rundown mountain cabin, but when college kids camping nearby accuse them of being psychotic killers, their peaceful trip turns into a nightmare in this indie horror comedy. The problems begin when the duo saves beautiful student Allison's (Katrina Bowden) life. Soon, numerous misunderstandings cause things to spiral into a grisly situation.

Matt says: All slasher films tend to follow a certain pattern: a few horny, drug using teenagers go on vacation and get bumped off one by one in gruesome ways. “Tucker & Dale” takes those conventions and mixes in “comedy of errors”. The result is an often funny look at how those damn kids these days are so jaded by the patterns in slasher films, it’s easy for them to think they are actually living in one. Although it’s a great idea, it’s also a one note tune. I mean, how many different ways can you have teenagers accidently kill themselves in gruesome ways? Apparently only by tripping up and falling into/onto something sharp; according to the movie. If more clever with the deaths and by removing the love story and the “evil” (you’ll see if you watch it), the movie could’ve been a charming parody. Instead, it gets bogged down by its own playing into horror film stereotypes. It’s still a fun watch (the first confrontation between the hillbillies and the teenagers, and the chainsaw chase scenes both being particularly hilarious) with above average special effects and a more than competent cast. And, even though it’s a comedy, it is still rather gory (though not to a Peter Jackson or Sam Rami level), so be forewarned. 3 1/2 stars.

Horrible Bosses – 2011 (R)

Netflix says: Disgruntled buddies Nick (Jason Bateman), Kurt (Jason Sudeikis) and Dale (Charlie Day) can't leave their miserable jobs, so they cook up a creative strategy for eliminating each other's micromanaging and maniacal employers (Jennifer Aniston, Colin Farrell, Kevin Spacey) instead in this crackpot comedy. Peculiar advice from con artist Motherf**ker Jones (Jamie Foxx) gets the scheme in motion, but the pals can't keep the wheels from flying off.

Matt says: If you’re like me, you saw the trailer for this and were unimpressed by it. “Oh goody, another dark humored comedy about murder,” you thought while the goofy antics unfolded on screen. Well, let me tell you that, yeah, the script is not the greatest and it’s somewhat lacking… yet, check out the star power in the Netflix description. That alone propels it into a much better movie than it should be. Everyone is cast so perfectly (and, yes, they all are pretty much typecast into their roles with the exception on Farrell and Aniston) that even the worst jokes hit strong. I laughed heartily throughout. The best interaction has to be with Day and Aniston. She plays his sexually harassing cougar of a boss and his responses (and his friend's’ disbelief) are really quite hilarious. From the trailer, I wasn’t surprised that this fell under the radar, but I am glad I gave it a chance. 4 stars.

Trollhunter – 2010 (PG-13)

Netflix says: Three students enter the Norwegian woods to film a documentary on a bear poacher named Hans. When they find him, he claims that bear hunting is just a ruse, and that he actually tracks trolls for the Norwegian government! This footage captures the trio as they follow Hans deep into the forest. If the hunter's story is true, they'll have the makings of the best student film in history. Otto Jespersen, Glenn Erland Tosterud, Johanna Mørck and Tomas Alf Larsen star.

Matt says: It’s easy to miss the point of this movie. First and foremost, it’s not supposed to be serious and the trolls are supposed to be cartoonish; it’s played so straight that it’s easy to miss that. “Trollhunter” is a brilliant parody of “found footage” movies. It has amateurish camera angles and shots, strange happenings, and rumors of fantastical things ending up being true. It takes the best things about “Paranormal Activity” and “The Blair Witch Project” and mirrors them perfectly while still managing to laugh at them. Even the tagline “You’ll Believe It When You See It” is part of the joke. The trolls are goofy CGI monsters that, even with great CGI, could never look real. And I think that’s the point: to deconstruct “found footage” movies’ hooks and present the most ridiculous thing they could think of as “real”, with a dark humored edge. “Trollhunter” probably cracked up the Scandinavians who saw it. For us Americans, a lot will be lost in the lack of troll mythology and from the cultural parodies we don’t get. I still enjoyed it immensely and highly recommend it. 4 1/2 stars.

Hall Pass – 2011 (R)

Netflix says: Owen Wilson stars as a married man whose spouse (Jenna Fischer) grants him the right -- for just one week -- to pursue as many extramarital affairs as he can. His best buddy (Jason Sudeikis) receives an identical "hall pass" from his wife, and off the guys go. The hubbies soon discover, however, that picking up girls isn't as easy as they recall, while their better halves embark on their own erotic adventures. Bobby and Peter Farrelly direct.

Matt says: If there’s one thing you can say about the Farrellys, it’s that they’re consistent. “Hall Pass” has as much charm, forced sappiness, gross-outs, genuine laughs, and lulls as the rest of their flicks… and, I’ll be damned if they always have one or two moments that have me crying with laughter (in this, the hot tub scene alone was worth the price of admission for me). They usually also have one scene that pushes the boundaries of taste so very much that it can be utterly offensive. Usually they’re the same scene, but this time they topped the big laugh/gross out with something that made me want to vomit (the… **shutter**… bathtub scene). The biggest missing pieces in “Hall Pass”, though (that make it less effective than their other films), are comedians that fit their mold. Wilson and Sudeikis do a decent job, but they’re no Carrey or Murray. Scenes that should have been rife with physical humor are subdued by Wilson’s lackadaisical acting style. Don’t get me wrong, I like both of them, but the Farrellys are all about comic timing and there were times when the timing just didn’t work. Hokey as it is, and with its flaws, it’s still a Farrelly flick; if you like their past films (“Dumb and Dumber”, “Kingpin”, “Me, Myself, and Irene”), you’ll definitely find some things to like in this. 3 stars.

Mr. and Mrs. Incredible – 2011 (NR)

Netflix says: Netflix hasn’t picked this up as of this review, so here is the IMDB description: In ancient China, a husband and wife, both of them retired superheroes, contend with the high cost of living, infertility, and other contemporary life issues.

Matt says: I saw some reviews floating around the web about this and people seemed to be disappointed in the lack of action or special effects. “It’s a superhero movie, after all!”, they said. Well, it really is lacking in those areas, but what it does have, and excels at, is a great story of when a marriage first starts losing its luster. After meeting and falling in love, two superheroes settle down in a small village. Things seem to be ok, but the lack of a child threatens to separate them. The honeymoon is over and they both begin to feel that they are in a rut and take each other for granted. It’s funnier than it sounds, with great moments of slapstick and some sharp witted tongues. I found it to be a charming romantic comedy (over the false advertising of it being a superhero actioner). Out of ten films viewed on the airplanes to Japan and back, this was probably the most entertaining. 4 stars.

Just Go With It – 2011 (PG-13)

Netflix says: When plastic surgeon Danny Maccabee lies to his girlfriend that he is a divorced family man, he recruits his office manager and her children to role-play as his ex-wife and kids -- generating a flood of farcical results and unintended consequences.

Matt says: Typical Sandler fare is predicable and full of the same shit his other movies of late are saturated with: a guy afraid of maturity learns maturity in the place right under his nose that he’s overlooked for so long. Yet… even though it’s the same old Sandler song, it’s not without its charm. It does have some of that classic Sandler potty/penis humor that’s so unnecessary, but with Jennifer Aniston and Nicole Kidman the movie still had a fe… wait, Nicole Kidman? Really??? What the f… ok, well maybe her career isn’t where it should be now, or maybe she was called out on a favor… anyway, it still had a few moments that made me chuckle. Sure, it’s basically one long “Three’s Company” episode, but I used to love the shit out of that show. 2 1/2 stars.

Life During Wartime – 2009 (R)

Netflix says: Filmmaker Todd Solondz revisits his Happiness characters in this tale about three sisters, Trish (Allison Janney) and Joy (Shirley Henderson), each married to degenerate men, and estranged Helen (Ally Sheedy), as they ponder the virtues of forgiving and forgetting. As Joy visits Trish to escape problems with her perverted, druggy husband, Trish is unaware that her own ex-husband, a pedophile whom she's claimed is dead, is now out of prison.

Matt says: Did Todd Solondz need to make a sequel to his masterpiece “Happiness”? No. No he didn’t. Did it work as a movie? I would say it did, but just barely. Different actors and actresses play the parts, and it’s interesting seeing what happened to these fucked up people 6-7 years later, but the theme remains somewhat the same and that weakens this as a stand-alone venture. “Happiness” worked so well because it delved deep into the the hidden desires we all think will make us happy, but which are really harmful, criminal, or sociopathic. In “Life During Wartime”, the characters still aren’t happy and they seem to be still looking for something, yet instead of “knowing” what they think makes them happy and partaking in emotionally devastating behavior, they are flying blind on a rocket cycle. It’s still a Solondz film, so expect uncomfortable dialog that will make you squirm in your seat and exploration of taboo topics... but it’s nothing new. The cast is truly wonderful, taking the mannerisms of the original characters with little fault, yet making them their own as well. If you are a big fan of “Happiness”, I would recommend checking this out just for curiosity's sake. For those wondering about Solondz and are unfamiliar with his works, I would put this at the bottom of the list and say to rent “Welcome to the Dollhouse” and “Happiness” first. If you still want to explore his warped mind after those, then pick up the rest of his catalog, still keeping this one for last. 3 stars.

Dinner for Schmucks – 2010 (PG-13)

Netflix says: Tim Conrad's (Paul Rudd) boss hosts a dinner party where he invites his friends to bring along the saddest, most pathetic loser they can find. But when the ultimate schmuck (Steve Carell) arrives, his actions somehow turn everyone else into the losers. Comic heavy hitters Zach Galifianakis and Ron Livingston lend able support in director Jay Roach's (Austin Powers) darkly humorous film, an adaptation of the French comedy The Dinner Game.

Matt says: In the same week that I saw the tightly crafted “Cedar Rapids”, I saw this. Really? 114 minutes??? This movie DID NOT need to be that long. Worst than the length was that the “dinner” only takes place in the last 15 minutes of the movie. Carell is addictive as his nerdy, unintentionally sociopathic character, and Rudd plays the straight man well, but goddamn is it long. Keep in mind that this is “From the Director of ‘Meet the Parents’”, so it has the same forced, goofy slapstick as the Ben Stiller flick. It’s not a harmful movie by any means (there are some laughs) but the length, the lack of maturity, and the deception in advertising that made it seem like it revolved around the “dinner” made this a weaker film than it could have been. 2 stars.

Cedar Rapids – 2010 (R)

Netflix says: Terrified of leaving his tiny town for the first time, sheltered insurance salesman Tim (Ed Helms) nervously sets out for the bright lights of bustling Cedar Rapids, where he attends a chaotic insurance convention and learns how to survive in the real world. Miguel Arteta directs this delightful fish-out-of-water comedy that also features Sigourney Weaver, Rob Corddry, John C. Reilly and Anne Heche.

Matt says: “Cedar Rapids” feels like a Judd Apatow film… it has all the trappings of one: take a naive man/child, throw him into uncomfortable situations with realistic (yet exaggerated) eccentric characters, goofy (and sometimes raunchy) dialog and actions occur, and then the man/child grows a little and learns something more about life at the end. It’s not a bad formula, and due to a great cast, this ended up being entertaining. Helms is the titular man/child, having not ever left his small town. When a co-worker passes away, it’s Helms who must take his place at an annual convention out of town. John C. Reilly steals the show as a rude, crude, party loving convention attendee who pushes Helms outside of his comfort zone. Much like an Apatow film, it can lull at times, but when it works, it works. Thankfully, unlike an Apatow film, it runs a brisk hour and thirty minutes, so it’s perfect comedy movie length. If you liked “The 40 Year Old Virgin” or “Knocked Up”, you’ll enjoy this… especially that you won’t have to take half a day to watch it. 3 1/2 stars.

Couples Retreat – 2009 (PG-13)

Netflix says: Desperate to save their marriage, one couple convinces three other couples to go in on a group rate price for an island retreat designed for troubled unions. But the "mandatory therapy" brews up nothing but trouble for everyone. Vince Vaughn, Jon Favreau, Jason Bateman, Kristen Bell, Kristin Davis and Faizon Love star in this comedy penned by Favreau. Peter Billingsley, who played Ralphie in A Christmas Story, directs.

Matt says: A stupid, stupid movie with no joke above an adolescent level. There’s two pee jokes in the first 5 minutes, a guy getting a boner while getting a massage, a fat naked black guy, a yoga instructor in a speedo who dry humps everybody, several mentions of a Power Point presentation about “ball cancer”, and more. In fact, most of the jokes revolved around male genitalia… and it runs close to two hours long! If you’re a twelve year old boy going to his first PG-13 movie, then you’ll love this. Everyone else should stay far away. 1 star.

I Want Someone To Eat Cheese With – 2006 (NR)

Netflix says: James (Jeff Garlin) knows all too well that the way to a man's heart is through his stomach. An overweight yet starving comedian in Chicago looking for love and weight loss in all the wrong places, James turns to the one thing that won't let him down: food. That's when he meets Beth (Sarah Silverman), who offers to fill James's desire for affection -- and ice cream. Adapted from Garlin's one-man show, the film co-stars Amy Sedaris and Bonnie Hunt.

Matt says: Garlin isn’t the best thing about “Curb Your Enthusiasm”, but he has his moments in the show. In this, he pretty much plays the same character, yet less confident and more humble. It’s actually a pretty funny movie. Garlin explores middle age and all its downfalls (getting fatter, loneliness, and the loss of an idealistic fantasy life). Silverman plays that “crazy” girl many guys date just because she is easy to get in the sack and Hunt is Garlin’s down-to-Earth, yet slightly jaded, female counterpart. It’s all bittersweet with some clever comedic segments (some of which could be right from “Curb Your Enthusiasm”) that will have you chuckling. It’s a brief (80 mins), cute, entertaining film that’s worth a once through. 3 1/2 stars.

Bridesmaids – 2011 (R)

Netflix says: Named her best friend's maid of honor, down-on-her-luck Annie's competition with a fellow bridesmaid, the wealthy and beautiful Helen, threatens to destroy the wedding. Meanwhile, a local cop takes a liking to Annie.

Matt says: “Bridesmaids” is hilarious. The cast is a brilliant mix of the best character actors from the best comedy shows of the past 10 years (“SNL”, “Tim and Eric’s Awesome Show”, the British “IT Crowd”, the US “The Office”, “Reno 911”, “Krod Mandoon”, and much more). The writing is spot on: it’s real, awkward, and very, very funny. This has as much, if not more, lasting potential than “Old School” and “The Hangover” as the cult comedy that people will watch for decades to come. It resurrects all the best aspects of the National Lampoon/SNL alumni/SCTV alumni comedies of the late 70s/early 80s and modernizes them without feeling stale. “Bridesmaids” a fresh comedy that will have you laughing throughout the whole thing. It loses half a star for too much language and for going very crude at times… but hell, even the best comedies went there sometimes. The minor nitpicks aside, I can’t recommend it enough. 4 1/2 stars.

Where’s Poppa – 1970 (R)

Netflix says: Dutiful Gordon (George Segal) promised to never put his mother (Ruth Gordon) in a home -- but that was before she was ruining his love life. Now, out of options and with the girl of his dreams on his arm, Gordon plans to scare his difficult mother to death -- literally. Gordon tries to off his scatterbrained mother before she manages to rid of his girlfriend in director Carl Reiner's wacky black comedy.

Matt says: From the “different time/different attitude” archives, “Where’s Poppa” was bound to make some people feel uncomfortable in its time. 41 years later, it’s downright offensive. Let’s turn back the wheel of time for a moment… The Vietnam War had cast a negative cloud over the US. 1970 saw the end of the hippy movement and the beginning of the jaded, emotionally scarred vet. Also, civil rights were coming to a boiling point as African Americans protested and rioted in the streets. All of this doesn’t take place in the movie, but its important to understand the attitude of the era to know why people thought offensive black stereotypes, guys trying to kill their mothers, rape scenarios, and hippies cutting off soldiers toes (to make them not eligible to serve) were laugh riots in 1970. Or maybe they didn’t. Maybe this was Carl Reiner’s “Postal”; an over-the-top “see how far we can go” failure. I don’t know, but even with my modern sensibilities and with some of the fucked up movies I’ve seen, I still was pretty taken aback by the content. Ruth Gordon was great as the senile mother who just wants to know where her husband is and George Segal is equally brilliant as Gordon. But, I just couldn’t stomach it. When a group of black thugs force Gordon’s brother to rape a woman in the park and a look of excitement comes over his face at the thrill of it, “Where’s Poppa” crossed a line that shouldn’t be in a comedic movie no matter how much of a “black comedy” it is. I would rather watch people smear shit all over their bodies in a disturbing art film than have hilarious rape in my comedy movie. There were some salvageable moments, but generally this ended up not being enjoyable to watch, even with the talented cast and director. I guess the times, they have a change-ed. 2 1/2 stars.

Paul – 2010 (R)

Netflix says: Nick Frost and Simon Pegg star as two science-fiction freaks who, while on a quest to discover what lies at the heart of Nevada's infamous Area 51, cross paths with an alien (voice of Seth Rogen) on the run from earthly authorities. The irreverent duo that brought us Shaun of the Dead assembled an impressive cast that includes Jane Lynch, Jason Bateman, Kristen Wiig and Blythe Danner for this raucous cross-country romp.

Matt says: Frost and Pegg are real life uber-geeks and, instead of masking that fact with zombies and shootouts, they finally said “fuck it” and pulled off the normal masks to reveal how very super geeky they are. In “Paul”, they play Sci-Fi loving writers who go to comic conventions, quote 80s TV and films, and get excited over samurai swords… so they basically play themselves. After the convention, they take a detour to Nevada to hit alien sighting sites and Area 51. A chance encounter has them meet Paul, a cigarette smoking, drinking, foul mouthed, drug using alien. Ok, so it’s not an original concept, but shit, Alf had American Dad beat by 20 years… and before that, there were other “alien” shows with aliens that weren’t completely social by their respective eras’ standards. Originality aside, the one good thing that both Frost and Pegg excel is parody. “Shaun of the Dead” was a great zombie parody, “Hot Fuzz” a decent cop parody, and Paul actually does a better job than “Super 8” in capturing a heart felt alien summer blockbuster. Sure, they didn’t have to budget of “Super 8”, but the feeling was more genuine. Since Frost and Pegg are really good friends in real life, that reflects in their characters, giving them a comradery that you just don’t get with strangers playing best friends. I wouldn’t say that “Paul” is hilarious, but it’s funny and amusing and the geeks who watch it will enjoy the inside jokes peppering the film. A movie a little too cute for the likes of Frost and Pegg, but raunchy enough to make it palatable. 3 1/2 stars.

The Green Hornet – 2011 (PG-13)

Netflix says: Seth Rogen and writing partner Evan Goldberg (Superbad) apply their trademark humor to the superhero genre in this big-screen action-adventure about a newspaper-publishing playboy (Rogen) who dons a disguise to fight crime after hours. As the Green Hornet, Britt Reid's power is no longer limited to the printed page -- and thanks to a nimble martial-arts expert (Jay Chou), he has the skills to expose the city's roughest criminals.

Matt says: I don’t know why people hated this movie so much… I mean, what did they expect? It’s a Seth Rogan penned movie about a dated superhero, not the next Nolan Batman. For what it is, it’s not too half bad. I chuckled a few times and the action sequences were well done. Of course, it runs too long (a meaty 2+ hours), the plot is a mess, and Rogan just doesn’t feel like an action hero. With all its faults, it’s still pretty fun movie. It’s not high art, but it’s a step above some of the other CGI laden bullshit Hollywood keeps stuffing down our throats (Transformers 2 anyone?). 3 stars.

Gulliver's Travels – 2010 (PG)

Netflix says: When a trip to the Bermuda Triangle inevitably goes awry, shipwrecked travel writer Lemuel Gulliver (the inimitable Jack Black) finds himself in Lilliput, land of the little people, where he's bound to discover just how much size matters. Jonathan Swift's immortal satire gets a broad comic retelling in this updated adaptation directed by Rob Letterman. Amanda Peet, Emily Blunt and Billy Connolly also star.

Matt says: Ugh… listen, there was a time when Jack Black had the potential to have all the roles Zach Galifianakis is currently dominating. As just “JB” in “Tenacious D” (his comedic band), he was raw, raunchy, and very funny. His roles in “High Fidelity”, “The Cable Guy”, and “Orange County” were the same pure, dry, sarcastic Black as his “JB” character. Then came “School of Rock”… a film Black must’ve thought would just be an easy buck. Even though he did kiddie films before, after “School of Rock” hit would-wide fame (spinning off into children actually going on real concert tours), Black became a family friendly face who’s career plummeted in a way that took Eddie Murphy 25 years to do. “Gulliver’s Travels” could’ve easily replaced a modern Eddie Murphy for Black and been the same fucking movie. It was full of wedgie, pee, and butt-crack jokes, was so bitter sweet it could cause cavities, and just wasn’t funny, or even enjoyable, at all. What’s next for Black, you might ask? Aside from a decent job voicing a CGI panda bear, it looks like a “Weekend at Bernie’s” rip-off called… wait for it… “Bernie” (really? are you fucking kidding me??), a movie about bird watchers, and a Muppet movie. Way to go, Jack. 1 1/2 stars.

The Other Guys – 2010 (PG-13)

Netflix says: While an elite pair of New York City cops (Dwayne "The Rock" Johnson and Samuel L. Jackson) nabs headlines for their amazing heroics, fellow boys in blue Allen (Will Ferrell) and Terry (Mark Wahlberg) toil in obscurity as lowly desk jockeys, until a big break finally gives them a chance to tackle real police work. Rob Riggle, Eva Mendes, Michael Keaton and Steve Coogan co-star in this action-packed comedy directed by Adam McKay.

Matt says: “The Other Guys” works well as a buddy-cop parody. Ferrell and Wahlberg play off each other as two conflicting personalities with different goals for their careers. Ferrell is the bookish desk-jockey who wants to stay at the desk and Wahlberg wants to be back in the field after an unfortunate shooting that left him hated by all. There is no straight man in this as both illicit laughs from their characters with childlike naivety. Everything is played dead-pan and the sarcasm runs thick. Even the “Ponzi scheme” villain is hapless, which makes all involved in on the joke. The action sequences are blown to comic levels, which just adds to the fun. I wouldn’t say this is a brilliant movie by any means, but it was quite enjoyable. If Will Ferrell’s comic styling is your type of humor, you will get plenty of laughs out of this... I did. 4 stars.

Super – 2011 (NR)

Netflix says: When his wife (Liv Tyler) falls in league with a drug dealer, average guy Frank D'Arbo (Rainn Wilson) dons the guise of a superhero, dubs himself the Crimson Bolt and tries to keep a tagalong comic-book store clerk (Ellen Page) from becoming his sidekick. But it's hard to be a superhero when all you've got to work with is a pipe wrench. Kevin Bacon co-stars in this action-driven dramedy from writer-director James Gunn.

Matt says: The ads for this made it look similar to “Kick-Ass”, so I really wasn’t too eager to see it. “Kick-Ass” was a great movie and anything trying to be like it would be subpar in comparison. After watching “Super”, I have to say that it has shades of “Kick-Ass”, but handles the subject matter in a much darker, less Hollywood friendly way. Wilson plays a total loser who never catches a break. When the one good thing in life (his wife) is taken away from him, he gets a message from god… in the form of tentacle brain rape… to become a superhero. Donning his patched together outfit, he then proceeds to brutally attack any one he thinks is committing a crime with his trusty wrench. The writer/director of this comes from the Troma school of filmmaking and it shows. He also wrote the screenplay for the Dawn of the Dead remake and directed the brilliant “Slither” (let’s just ignore his involvement with the Scooby Doo live action films). “Super” feels a little too Indie for its own good, but is funny, dark, disturbing, and violent enough to make it a fun watch. It actually reminded me more of “Special”, in which Michael Rapaport starts taking medication that he believes gives him super powers. Both films are portrayals of men with deep psychological issues who think they’re superheroes… “Super” just takes it to the next level with its Troma-like dark humor and violence. “Super” ended up being a pleasant surprise and it was refreshing to see that movies like this are still being made. Troma fans, keep your eyes peeled for Lloyd Kaufman’s cameo. 4 stars.

I Love You Philip Morris – 2009 (R)

Netflix says: When upstanding Texas cop Steven Russell (Jim Carrey) realizes he's gay, he changes his entire life and pulls a series of bold con jobs that lands him jail -- where he meets his one true love, cellmate Phillip Morris (Ewan McGregor). When Morris is transferred to another prison, lovesick Russell mounts a series of jailbreaks just to be with his beloved soul mate. Glenn Ficarra and John Requa direct this comedy based on a true story.

Matt says: It’s a shame that people are so closed-minded that this movie got shelved multiple times, passed around by distributors, and eventually never got more than a brief run in indie houses. It’s a very funny, touching movie. So it has simulated man-on-man sex, scenes of Carrey and McGregor making out, and shows that people of the same gender can actually feel genuine love for each other without hiding it and getting all cowboy-angsty about it. Who cares? It’s a solid romantic comedy/drama. That it’s a true story makes it all the more entertaining. McGregor does a great job with his role, but movie is all Carrey’s. He brings his incredible comedic styling to the film, giving his portrayal of Russell an undeniable charm. Say what you will about his choice of early roles, and his unfortunate stabs at the serious, but when given the right character he really does shine. If you believe homosexual love is an affront to god, then I suggest you go ahead and skip this one. If you’re open-minded enough to to know that it is normal to accept all consensual love in a progressive society, your reward will be a great film. 4 stars.

Party 7 – 2000 (UR)

Netflix says: In director Katsuhito Ishii's off-the-wall comic tale, a collection of screwballs, killers and crooks converge at a kitschy hotel where two-bit yakuza Miki Shunichirô (Masatoshi Nagase) is holed up with a heap of stolen cash. As two perverted voyeurs observe the action in his Miki's room, he entertains a number of uninvited visitors, including his shapely ex-girlfriend (Akemi Kobayashi) and a bushy-haired, combustible assassin.

Matt says: Katsuhito Ishii is one strange guy. I was first introduced to his movies by a good friend who is a fan of his “The Taste of Tea”. In “The Taste of Tea”, Ishii’s strangeness shows, but it’s commercial enough to have brought him festival nods. I then watched “Funky Forest: The First Contact” not knowing that Ishii was involved in it… my review on that mind blowing project speaks for itself. “Funky Forest” made such an impact, and “The Taste of Tea” was so enjoyable, that I needed to see more from this prolific filmmaker. Enter “Party 7”. The humor is the same as in “Tea” and “Forest”: part dialog driven sarcasm that I can only explain as  Tarantino on Ambien and part slapstick. “Party 7”, being an early film by Ishii, has a younger, sharper edge and moves at a quicker pace than its successors. The beginning credits are slick animated introductions to the seven characters who converge on a trashy hotel. From there… well, I don’t know what the hell happens as, in typical Ishii fashion, not much makes sense. It really takes an open mind to absorb his films; the surreal nature of of the characters and situations make things difficult to piece together. But, his films have such absurdity to them, that they’re really quite enjoyable to watch. I wouldn’t recommend “Party 7” as a first Ishii watch (“The Taste of Tea” is much more palatable as an introductory film), but I do recommend it as a nice gateway before checking out “Funky Forest”. “Party 7” didn’t blow me away like his other movies, but it was enjoyable enough to make me not regret sticking through it. 3 1/2 stars.

Due Date – 2010 (R)

Netflix says: Days before his pregnant wife's due date, Los Angeles architect Peter (Robert Downey Jr.) is about to fly home from Atlanta when a series of unfortunate incidents land him on the "no-fly" list, forcing him to hitch a ride across the country with slacker Ethan (Zach Galifianakis). As Peter desperately tries to get home, he must deal with Ethan's laid-back attitude, numerous delays and several mishaps in this road trip comedy. Jamie Foxx co-stars.

Matt says: “Trains, Planes, and Automobiles” clone actually brings a lot of good laughs to the table. Downey, Jr. plays Martin’s straight man to Galifianakis’ Candy-like hapless goof. There’s enough similarities to make it more than obvious that it was influenced by the Martin/Candy flick, but enough differences to make it somewhat original. Galifianakis plays the strange hipster/oddball so well it’s no wonder he’s typecast in his rolls. But, for some damn reason, I still crack up at his antics no matter if it’s practically the same character in every movie. Following the Apatow school of modern comedy, there’s some adult humor, mild gross-out gags, and a sweet innocence to the whole thing. It also gets a bit sappy, but movies like this usually do. Unlike an Apatow film, “Due Date” knows when it’s overstayed its welcome and calls it quits at a brisk 90 mins. Seriously, do you really need a two and a half hour epic comedy, Apatow? All in all, a cute, funny film that, although isn’t an instant classic, still offers up a few hearty chuckles. 3 1/2 stars.

Four Lions – 2010 (R)

Netflix says: Comedy writer Christopher Morris makes his feature directorial debut with this outrageous comedy about a group of young Islamic Brits who fancy themselves bloodthirsty jihadis of the first order. The film showcases Morris's satirical talents at their vicious best in a scathingly hilarious indictment of true believers and the social systems that create them. Viewers took note and bestowed it the Audience Award for Best Narrative Feature at the L.A. Film Festival.

Matt says: It takes a lot of balls to make a black comedy about jihadist wannabes. Believe it or not, fundamentalist Muslims can be a bit sensitive about their religious beliefs. Much like “Monty Python’s Life of Brian”, “Four Lions” takes the high satire road in the amateur terrorists’ plight. The result is a laugh-out-loud hilarious tale of ineptitude. There was a lot of thought put in to the mindset of the young men, so much so that the film is entirely plausible. This makes it a bit frightening, but by showing how uninformed people like this usually are, it also shows that they are not much different from fundamentalists from other religions… just more dangerous. Or, in this case, how potentially dangerous they could be if they had any common sense. The dialog is Python inspired gold hit with perfect timing by the brilliant cast. It is a daring movie that does to jihadists what Bugs Bunny cartoons did to the Nazis during WWII. Yet, there’s a human factor that does invoke some sympathy. Really, it’s been a while that I’ve seen a satire as smart and effective as this. 4 1/2 Stars.

The Last Lovecraft: Relic of Cthulhu – 2009 (NR)

Netflix says: When average-guy Jeff (Kyle Davis) learns he's related to world-famous "weird fiction" writer H.P. Lovecraft -- and that he's the very last leaf on the Lovecraft family tree -- he gets drawn into a plot to keep an ancient artifact out of alien hands. If he fails, the nefarious Starspawn (Ethan Wilde) could harness the relic's power to summon the alien god Cthulhu. And if that happens, the whole universe is at risk.

Matt says: Comedy-horror based on the lore of HP Lovecraft is light on budget, but not too shabby. The comedy is a bit weak, but they more than make up for it with plenty of Lovecraftian references and decent effects. The CGI is unpolished, yet it was the best they could do with what they had. It was a grand attempt that mostly pays off due to its originality and the excellent performance of Barak Hardley as the Lovecraft expert/uber geek who lives with his grandmother. It also works well as a primer for those curious about Lovecraftian mythos, even if it strays at times. If Devin McGinn continues with the ideas he has, irons out the dialog issues (there are more “fucks” then in a Steve Rahaman flick), and gets a bigger budget, we could see some great things from him in the future. This is worth a watch for fans of cult horror comedies or fans of Lovecraft (or, which is usually the case, both). It’s not the greatest movie, but I’ll be damned if hasn’t got its charm. 3 1/2 stars.

Funky Forest: The First Contact – 2005 (NR)

Netflix says: Cult filmmaker Katsuhito Ishii collaborates with former schoolmates Shunichiro Miki and Hajime Ishimine to create this absurd anthology of mind-bending short films. Centered on a trio of oddball brothers, this hyperimaginative experience blends comedy, science fiction and experimentalism to reach new cinematic heights. Rinko Kikuchi (Babel) stars alongside Susumu Terajima, Andrew Alfieri and Tadanobu Asano.

Matt says: It’s no wonder Netflix doesn’t have a copy of this. It is one of the strangest, most nonsensical movies I have ever seen. It’s basically a bunch of vignettes that are loosely tied into a bit of a story, but it’s very thin. There’s an overall sense of humor and everything has been pushed to an absurd, dreamy, hyper-surrealistic level. It makes it difficult to review. On one hand, the scenes come off boring, ridiculous, or even quite disturbing. On the other hand, it’s very creative and has love put into it, much like modern and performance art pieces. I’ll have to admit, I don’t get a lot of it, but I appreciate what they did. I’m always for pushing the envelope of art, comedy, and taste in film and this has it all. Definitely not for everyone… in fact, I really can’t recommend this to anyone. Most people will hate that it’s not really a film. It’s more of an experiment. Was it successful? Did it fail? I don’t know, but it’s something totally different. Here, check out some clips for yourself: here, here, here, and if you really need to see more, here. Yeah, that’s what I thought, too. I know this review wasn’t very good, but I’m at a loss for what to say. The clips should tell you everything you need to know. I’m forced to judge this purely on my personal enjoyment level. Although it is very slowly paced, yet for keeping me engaged and for sheer WTF value, I give this: 4 stars.

Three Amigos – 1986 (PG)

Netflix says: Suddenly sacked by their Hollywood studio, three silent-movie stars (Steve Martin, Chevy Chase and Martin Short) head to Mexico in response to a cable from a señorita in distress (Patrice Martinez). The trio erroneously assumes they've been summoned to perform in a show with locally renowned actor El Guapo (Alfonso Arau). Turns out that El Guapo is no thespian, the desperados aren't extras and they aren't shooting blanks. John Landis directs.

Matt says: After a lengthy on-line quote fest, I decide to blow the dust off of “Three Amigos” and watch it for the first time in about 10 years. I’ll tell you, and not just as a fan of the movie, that this is a solid family comedy. Stuffed with Saturday Night Live alumnae, scripted by Martin and Lorne Michaels, and directed by John Landis, this is classic 80s comedy at its best. Not only is it infinitely quotable, but it is generally laugh-out-loud hilarious. Situational comedy was the bees knees in the 80s and this takes full advantage of the trend. On top of the great cast and sharp wit, there’s an underlying commentary on film stardom and how an audience will relate characters’ personalities with the actors who play them (and how those actors are ultimately just naive puppets of the Hollywood machine). It reminds the viewer of how great Martin, Chase, and Short were in their prime. All of them can solicit more laughs from a look than that in an entire Judd Apatow film. I thoroughly enjoyed re-watching this and will in another few years when I dust it off again. 4 stars.

The Virginity Hit – 2010 (R)

Netflix says: The quest -- losing one's virginity -- is an ancient one, but the tools used to document it are distinctly modern in this mockumentary about a young man's endeavors to "close the deal," as his buddies (and documentarians) so charmingly put it. When Matt's untimely breakup with a girlfriend throws a monkey wrench into his plans, his friends urge him to continue the mission anyway -- with them along to film the adventures.

Matt says: The thing that makes this different from other low budget teen “lose the virginity” tit flicks is that it’s filmed in a reality/documentary style. It’s too bad that it’s actually a really boring movie. Sure, there’s cute girls and a smattering of nudity, but there’s just not much situational comedy outside of some strained attempts and tasteless humor. It all comes off like watching the home movies of a bunch of people you don’t know, which is as painful as it sounds. The actors do a good job acting “real”, but everything else is just dull and predictable. 1 star.

Breakfast at Tiffany’s – 1961 (NR)

Netflix says: In this Blake Edwards-directed adaptation of Truman Capote's novel, fortune hunter Holly Golightly (Audrey Hepburn) finds herself captivated by aspiring writer Paul Varjak (George Peppard), who's moved into her building on a wealthy woman's (Patricia Neal) dime. As romance blooms between Paul and Holly, Doc Golightly (Buddy Ebsen) shows up on the scene, revealing Holly's past. The film received Oscars for best song ("Moon River") and best score.

Matt says: Breakfast at Tiffany’s is an interesting film. On the surface, it’s a cute romantic comedy. Underneath, it’s very similar to “The Great Gatsby”. Both protagonists come from rube backgrounds, run away to NY, and although they are both surrounded by people and parties, they both are pretending to be something they are not and are quite alone in their quests. Both stories also have a fixation with money and how it isn’t a cure all to life’s desires; Tiffany’s just takes a more lighthearted approach. Hepburn is absolutely charming as Holly. She plays the role with gusto and she will make you fall in love with her. The rest of the cast is good, except for Rooney’s portrayal as the noise-hating Japanese landlord. Seriously, it couldn’t be more offensive if he was in blackface. Well, I guess it was a different time. The Oscar winning score really helps accentuate the mood of the film, hitting highs and lows with subtle efficiency. It’s a good reflection of the NY party scene in the 1960s and the facade that people put on to be in that scene. 3 1/2 stars.

Hancock – 2008 (UR)

Netflix says: Will Smith stars as Hancock, a down-and-out superhero who's forced to employ a PR expert (Jason Bateman) to help repair his image when the public grows weary of all the damage he's inflicted during his lifesaving heroics. The agent's idea of imprisoning the antihero to make the world miss him proves successful, but will Hancock stick to his new sense of purpose or slip back into old habits? Charlize Theron co-stars in Peter Berg's action-comedy.

Marc says: Mediocre hack Peter Berg squanders the under-utilized premise of a “down on his luck” superhero by abandoning the entire concept about one hour in. Although the first half squeezes out some seldom few laughs, it’s all downhill once the plot revelations start rolling in. Will Smith exudes screen charisma throughout, but it’s nowhere near enough to save the proceedings from Theron’s teary-eyed overacting and a muddled script. Grade D.

Harold and Maude – 1971 (PG)

Netflix says: Death-obsessed teen Harold Chasen (Bud Cort) is being hassled by his domineering mother (Vivian Pickles) to play the dating game, but he'd much rather attend funerals, which is where he meets the feisty Maude (Ruth Gordon), a geriatric widow who's high on life. The seemingly mismatched pair forms a bond that turns into a highly unconventional -- but ultimately satisfying – romance in this comical cult favorite from director Hal Ashby.

Matt says: An extremely amusing and amazingly heartfelt movie about love, life, and death; “Harold and Maude” should be on everyone’s list as an essential watch. It looks beyond our daily doldrums and insecurities to what really matters in this world. The main character, Harold, is obsessed with death. His life is boring and unpleasant and he resorts to faking suicide to get attention. His obsession with death leads him to attend funerals of people he doesn’t know in order to try to comprehend his own miserable existence. When he meets a free-spirited septuagenarian named Maude, she shows him that death is a natural occurrence and part of the cycle of life… and most importantly, though mortality is something to always be aware of, it’s nothing to dwell too much upon. Though their relationship, Harold gains an appreciation for what life has to offer; that we are only on this world for a brief time and we need to indulge in the positivity, exploration, and joy while we’re here. They are kindred spirits separated by age, but drawn together so that their age difference doesn’t matter. Hilarious at times and touching at others, this movie is the perfect example of a meaningful, insightful film. And, with an extraordinary soundtrack by Cat Stevens, the emotional levels are heightened beautifully. If you haven’t seen this, you must. Not only will you laugh and cry, but you will feel enriched by it. 5 stars.

TerrorVision – 1986 (R)

Netflix says: One family's satellite television dish accidentally becomes a garbage disposal unit for a distant alien civilization in this sci-fi screamer. After the Puttermans install the new system, it begins receiving powerful transmissions from deep space. Eventually, a hideous alien life form is also beamed down into their household. One of the Puttermans has an idea about what's happening to them, but since he's just a kid, no one's paying attention.

Matt says: Craptacular 80s horror/comedy comes from a time that was lost when everything got all CGI-y and torture porn-y. Like “The Stuff”, “Basket Case”, and others, “TerrorVision” wants you to laugh in disgust. The effects and costumes are low budget abominations, but that’s part of the charm. Every family member is a caricature of the quintessential 80s nuclear family and, like so many horror flicks from that time, only the youngest child knows what the hell is really going on and no one believes him. For those of you in the know, it’s like an extended episode of “Monsters”. You will recognize the cast… but you won’t know any of their names. It’s more like “Hey, that’s that guy who played Uncle Rico in ‘Napoleon Dynamite’!” and “He was just on ‘Dexter’!”. It’s pretty awful, but fairly entertaining for fans of the genre. The best thing about movies like this are that they got “R” ratings, but were made for 13 year olds… I guess that’s why I still enjoy them. Like “Troll 2”, there is no blood, just plenty of green slime. I’m inclined to think this deserved a PG-13 rating at the most. Sometimes fun, sometimes stupid, it beats the shit out of any of the “reimagining” of classic horror movies that have been made of late. 2 1/2 stars.