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Reviews
The Office (2005)
One of the best sitcoms
The producers and cast of The Office (US) have created one of the most vibrant and engaging comedies ever on TV. This is irrespective of whether it is based on Ricky Gervais' and Stephen Merchant's outstanding The Office (UK). For the first time that I am aware of, two versions of the same show are both groundbreaking and thoroughly entertaining.
To those who bemoan that this isn't as good as the UK original, or that they're doing the same thing, or that they are too different, or any of a number of poorly considered critiques of the show, it is important to note who the producers are: Gervais and Merchant.
Admittedly, they are barely active in production of this show now. However, they were quite involved in the beginning. The Office (US) was an opportunity for them to revise elements of the original show. In addition, with knowledge that the series would last longer than two seasons (their self-imposed limit) they were able to create a richer cast. After setting the show on its way with the creative input they felt could benefit, they began work on their enjoyable Extras.
It is the fuller cast of characters that makes The Office (US) so entertaining. Instead of focusing on four main characters, often to the exclusion of the remainder of the cast, we have seen continuous development of everyone in this office. Creed, Ryan "the temp", Phyllis, et al, all have unique personalities.
Kevin, played by Brian Baumgartner, is a perfect example of this. The original UK character, Keith, was terrific. But there wasn't much to him barring an occasional slack-jawed delivery. Kevin, on the other hand, plays drums in a local Police cover band, can down an entire container of M&Ms, etc. All quite silly, but adding to the tapestry of characters.
I was not excited by this show during season one when it did seem to pale quite a bit to the UK version. My theory is that they were attempting to foolishly capture the audience of the UK series by making it familiar. Instead, it distanced people who rightly adored the original.
Now, however, the show has solid original writing and stands separately from the UK version. Gervais and Merchant both strongly approve of this series, and rightfully so. Like the UK original, The Office will go down as a landmark television series of bold originality and fearlessness.
Three Amigos! (1986)
A Plethora of Funny Scenes
Yes, it is underrated, and yes, as a story it's pretty lame. But the point of this film is the jokes, and there are plenty of great ones to make this movie worthwhile. The big standout scenes are, of course, the Singing Bush, and My Little Buttercup. But there are so many other great little moments throughout the film that come out on repeated viewing.
For instance, Steve Martin discussing the advantages of a democracy and bicameral system to the guard bringing Martin down to the dungeon. Or the facial expression that Chevy Chase makes when asked if he knows what "Nada" means. Or Martin Short telling the insanely dull story of Dorothy Gish saying to Short that he "has got it."
And, of course, "It's a sweater!"
This is the one film where the comedic styles of Steve Martin, Chevy Chase, and Martin Short really works. Whereas many efforts of them have fallen flat in other pictures (e.g., The Lonely Guy, either Goldie Hawn/Chevy Chase film, Clifford) in here everything works. And, especially, if you want to see what Chase and Short were like before they turned into ridiculous jerks this is a good place to start.
Also, this is the only film for which Randy Newman helped with the script. The humor which comes across in his bitingly satirical songs is toned down, but still very much present. Wish he wrote more--too bad everyone hated this movie.
To clarify one thing: The Three Amigos were stars of silent movie serials. Back then actors were rarely paid for their efforts and were oftentimes considered less valuable than the scenery, hence their having no pull with Flugleman.
Night After Night with Allan Havey (1990)
The best late night talk show
Night After Night with Allan Havey was simply the funniest, wittiest, and smartest late night program ever. How could this be? How could a show on a network with no ratings, no one watching (not even Allan Havey), and zero budget be good? Because they were out there just having fun. "Shaggin' and baggin'" as it were.
The format of the show changed over its brief lifespan from the old VJ style where Havey would introduce comedy clips--the format of the original Comedy Channel--for over 2 hours. He didn't get much time to be funny, but when he was on it was almost always magic. However, as the original format wore thin, NAN shrank to an hour long talk show. But it was more like a concept piece than a talk show. There was no audience (save the later added Audience of One), and he spoke directly to the camera from his comfy chair. There was no desk in front of him, but rather to the side. This open format has not been tried before or since. And the openness of the stage was reflective of the openness of Havey.
I doubt they ever did a pre-read for interviews. He has the skill of Larry King to get celebrities to talk off-topic without the ingratiating self-congratulatory style. Almost all the conversations came across as two friends hanging out, and we, the audience, got to be there with them.
But, on to the most important part of the show: The funny. Nick Bakay, announcer and co-host, was the perfect foil for Havey. Where Havey was genuine and sincere, Bakay was smarmy and full of himself. Where Havey is, well, not too bright, Bakay is a savant of arcana. And they were at their best when working together and against each other--such as the brilliant Freddy the Frog episode. Imagine an entire show improved around a failed sketch about a stuffed frog. There's nothing I can say that can illustrate just how funny it was, but me and my friends still quote that to this day (over a decade on). "There's no more joy! There's no more frog!" "'Nick's making more than me? How much are you making, Freddy?' 'Twenty grand a week!' 'Twenty..heh [starts laughing]'" Whatever, it's funny.
Maybe someday Allan Havey will be able to return to TV. We need his subtlety and his wit. We need someone to say, "Ten dollar haircut on a ten cent head." We need more shaggin' and baggin'.
Most of all, we need Len Pal.
The Bitches (1992)
Yet more uncomfortable Dickie Kern fun
Well. The Bitches. Okay, here's the basic plot synopsis. Two girls are in a sparsely furnished apartment scandily clad and being generally unpleasant to each other. A guy comes in, and they start to engage in, um, fun. Then the fun turns on itself as, uh, you'd have to see it.
But you don't need to. As with all Richard Kern films, if you've seen one, you've seen them all. They're simply variations on being shocking in different ways. Is there symbolism in them? Nothing above the kinds of things a 6th grader would get, and a 6th grader sure as heck shouldn't being seeing this. It's really more fascinating as a documentary of people doing things to/with/on each other.
On the upside, the music is fantastic. Honestly, this is worth watching just for the excellent music (the composer escapes me at the moment). It seems to have very little connection with the film, but definitely works. Imagine Foetus' agro-jazz stuff gone more jazz and you sorta have the idea.
Enjoy.
The Wild World of Lydia Lunch (1983)
The Wildly Dull World of Lydia Lunch
So, what the heck is the point of this thing? I like Lydia Lunch and this thing made me want to sleep. A lot. Featuring shots of her sitting in bed being grumpy with overdubs of her grumpily speaking grumpy poetry the only thing of note or interest in this film is a very cute dog. Amazingly, for a Nick Zedd film, no harm comes to the dog. Nor to Lydia Lunch.
In fact, nothing happens to, with, for, around, or near young Miss Lunch throughout the 18+ hours of this film. Or so. I think it's about 20 minutes.
At the least, in Right Side of My Brain, aside from the uncomfortable J.G. Thirlwell scene, we get to see Hank Rollins whap her upside the head. Not at all meant to be misogynistic (thought the film is), but at least it's something.