A writer on the Twilight Zone experiences an existential crisis.
Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan. 2006. Directed by Larry Charles. Screenplay by Sacha Baron Cohen, Anthony Hines, Peter Baynham, & Dan Mazer; uncredited writing by Seth Rogen & Patton Oswalt.
Starring Sacha Baron Cohen, Ken Davitian, Luenell, & Pamela Anderson. Four by Two/Everyman Pictures/Dune Entertainment.
Rated 14A. 84 minutes.
As far as comedians go, Sacha Baron Cohen is definitely one of the more divisive talents to grace the Hollywood big time. Some find him offensive, though they’re often people that mistake him for his character instead of comedian employing the use of satire. Some rightfully find him hilarious. I’m one of the latter audience members. Cohen got big with Ali G and his show, the two different incarnations, which of course featured the characters Borat and Bruno. This trifecta made for an extremely subversive slice of television. Ali G started right at the turn of 2000, then the show went again on air about 2003 when I graduated high school. The last couple years of school I’d gotten influenced by Cohen and his edgy humour; him, plus Knoxville and Co. with their often death defying (or intelligence defying) stunts. In part, I credit the ridiculousness of certain aspects in my humour to Cohen.
Borat is essentially the best of Da Ali G Show, only with the ante sufficiently upped. There are moments in the film that are almost too good to be true. Luckily, the genuine reactions and emotions of many people are forever trapped on celluloid. There are few comedians able to reach the awkward, tense heights of which Cohen is beyond capable.
The incredible power of Borat as a character comes in the form of truth. For instance, so many people obviously don’t realise they’re talking to a comedian, and so they’re open, honest, unafraid of being mocked or made to look foolish. Like the guy at the rodeo who says America’s trying to hang the homosexuals, and so on. Part of this isn’t even comedy, it is genuinely tragic. A guy such as that cowboy-hatted asshole talks down to Borat, thinking he’s a guy from a country where he’ll never go, a country he’s never cared about and never will. So not only do we see the truth, we see the ugly truth at times. There are a lot of actually hilarious and harmless bits amongst the harsh doses of reality. But the best parts come from this rawness.
Above anything else Borat is able to expose the underbelly of America. The people who are casually racist, not so much the ones that are blatantly out there. He gets to the quiet types, the ones who are lured in by his whole shtick. Such as the dinner party when Luenell shows up to be his guest, and this is the last straw – a big, black lady dressed a little too sexy is too much for them, but the bag of shit Borat previously brought down didn’t put them over the edge. That little juxtaposition is poignant. People might think it’s just crass, dirty, “toilet” humour. It isn’t, it opens up the racism of these white people so wide that if you ignore that, you may be blind to racist behaviour. There are a bunch of instances where people are overtly racist because of how Borat, and the genius of Cohen in his skin, makes people act.
A few of the amazing scenes that stand out are ones that constantly, consistently funny. There’s the one where Borat meets with the Veteran Feminists. On the surface people say it’s offensive. And what he says is, certainly. It’s just because of how he skewers the typical view many of us have re: certain Asian countries, et cetera. What’s even funnier is that racist and xenophobic people probably watch this and almost feel that it’s truthful in that sense; it’s not funny, I guess, rather it’s sad. Again, that’s the glory of the movie. Another scene I find downright perfect is the driving instruction followed by the search for a Pussy Magnet. I mean, it’s crack up funny. Further than that I can’t get enough of the driving instructor, how well he interacts with Cohen as Borat, and the almost duo-like presence they have together. Immediately as Borat double kisses his cheeks, the response he gives makes me keel over laughing. There are too many of these awesome moments to list.
Central to everything, which doesn’t necessarily need to be said but I’ll say it anyway, is Cohen’s performance. The control this man has is unbelievable. One of the best of any comedian, ever. You’ve got to give him that even if you’re not a fan. He goes full force into the role and plays it to maximum effect. The awkward moments, the at times angry and tense scenes. Every last bit features a stone-faced Cohen. There’s no imagining how he’s able to keep the laughter in, and I’m sure there were outtakes that completely messed up particular scenes. But you can see how the toughest moments are played to the furthest end. All the while, Cohen keeps the act on to make it riotously funny.
I know why people aren’t fans of Cohen. Likewise, I understand why they don’t enjoy Borat, or any of the other characters he plays. Don’t agree. Although I do understand. Because that’s what comedy, and life, is all about. We can enjoy different things without that being a problem. Yet I do take issue with those who find the film offensive. I don’t think that Cohen is ultimately trying to make Kazakhstan or anyone there look foolish. His primary target is American culture, how they view themselves and in turn how they view those outside of their culture. There are scenes where Cohen gets the opposite reaction I’d expected. Others you feel the pit of your stomach flop because you knew people like that existed, though they aren’t always readily visible.
So thanks Sacha – this is a contemporary comedy classic that many of us will enjoy years down the road. Your wit and charm in such utterly ridiculous scenarios is something I’ll never be able to deny, even if I wanted to. And why the hell would I want to? Borat’s a character that has made me laugh for the past 16 years. I suspect it’ll go on a lot longer, too.
Donnie Darko. 2001. Directed & Written by Richard Kelly.
Starring Jake Gyllenhaal, Jena Malone, Mary McDonnell, Katharine Ross, Patrick Swayze, Noah Wyle, Holmes Osborne, James Duval, Maggie Gyllenhaal, Drew Barrymore, Seth Rogen, & Patience Cleveland. 20th Century Fox/Pandora Cinema/Flower Films/Adam Fields Productions.
Rated R. 113 minutes.
I was born in 1985. When Richard Kelly directed and wrote Donnie Darko, I was about 15 (late birthday always puts me near the end of the year and so I was usually younger than most in my grade). When I saw it, there was an immediate odd quality that drew me in. Like many, I imagined myself an outsider, outcast, whatever word you’d like to use. But Kelly’s film spoke to my weird soul.
Donnie Darko combines a story of teen angst with a science fiction-tinged thriller, all wrapped up in a personal family drama. There’s even a horror-ish element within the plot itself, as Frank the Bunny is not simply a sci-fi-esque prophet, he is highly unsettling to look at. Delightfully horror. Set in the late ’80s, the story is quirky, but never so much that it ultimately detracts from anything. In fact, the soundtrack and some of the haircuts, the fashion are what makes it clear this is a period piece, otherwise it isn’t forced on us.
But above all else, this movie is concerned with an interesting mix that falls somewhere between a more cynical John Hughes picture and a darkly comedic science fiction-thriller.
Often period pieces, no matter the time, can really jam those elements down a viewer’s throat. Kelly does a fine job weaving the late ’80s into his film. Without every pressuring us into a space where neon Spandex, headbands, gigantic hairdos take precedence, the movie gets across its 1988 setting. For instance, from the very beginning we keep hearing mentions of George Bush Sr., more importantly his opponent Michael Dukakis in the ’88 U.S. Presidential election, such as when Mr. Darko’s daughter insists she’s voting for the latter to his chagrin. These particular mentions are organic, they don’t feel jammed into the screenplay. Furthermore, the fact they’re so easily engrained in the fabric of the writing is not only a testament to Kelly’s abilities as a screenwriter, it’s also part of why the film, as a whole, feels fleshed out.
The writing is all around excellent. Donnie’s a solid character, as are his family. I’m always at a loss for how I’m meant to relate to characters when families onscreen feel like they’re the furthest away from a family they can possibly get. Sometimes you see these people together as supposed relations and they feel too much like a couple actors working through lines. The Darko family are fun. First, you’ve got the fact Jake and Maggie Gyllenhaal play the brother-sister combo that like poking fun at one another with hilariously foul insults. Their chemistry is, obviously, natural. Better still, Rose (Mary McDonnell) and Eddie (Holmes Osborne) Darko are wonderful in the roles of Donnie’s parents. They’re interesting, they feel like a married couple and likewise feel like parents. Even if Donnie is the main focus, the whole family makes the movie and its story all the better for their inclusion.
Aside from characters, the plot is wild, as much as it is intriguing. If you pick up the Director’s Cut there’s a treasure trove of Special Features that make everything even more enjoyable. Sure, you may not like the movie because it isn’t your cup of tea. But you’ve got to admire Kelly’s work, his writing, the time and research he put into the whole thing. On the DVD (this is one movie I’ve yet to pick up on Blu ray), there’s a feature on The Philosophy of Time Travel, the book within the film supposedly written by Roberta Sparrow. It almost serves as a nice footnote to the movie, helping people bridge the gaps between the bits and pieces which may not immediately make sense. Personally, I don’t particularly find Donnie Darko confusing, on the whole. That being said, I’ve watched this so many times in the last 15 years that quite possibly I get it simply because of the sheer number of views. Who knows. However, if you do find it confusing, even in the slightest, I suggest picking up the DVD if you’re willing, and enjoyed the film despite not fully understanding it. The features will help you grasp everything, in my opinion. Again, they also give you an idea of how much work Kelly put into this movie, from writing the screenplay to its visual execution.
What I love most is that this is a teen story, at its heart. But more than that we’ve got this great feeling of a distinction between people who are closer to the truth and those who are much further away. The teens, or some of them – particularly Donnie (Jake Gyllenhaal) and Gretchen (Jena Malone) – are obviously on the side of angst, the feeling that grown-ups don’t have it all figured out. This is usually the case in films, and in real life, too. Moreover, some of the adults in this movie are in on that. There’s Professor Monnitoff (Noah Wyle) whose indulgence of Donnie’s questions about time travel point to his better understanding of the world than the closed off, repressed adults here; also, young teacher Karen Pomeroy (Drew Barrymore) is a great example, as she introduces one of the film’s themes, DESTRUCTION AS CREATION, with the Graham Greene short story “The Destructors” that concerns that very same theme. The adults are not simply clueless; no, they are mostly apathetic, and that’s almost worse.
Best of all, the character of Jim Cunningham (Patrick Swayze) exemplifies the entire idea that many of the adults here are clueless, oblivious to everything significant about life – when we come to find out about Cunningham, through another act of destruction (creating a better path to truth), it’s easy to see how his preaching about fear is all a cover. Epitomized in Cunningham is the concept of the hidden truth, which Donnie comes to help uncover throughout the course of the plot. Often films that are going for the idea that teenagers are somehow more enlightened in their youth (not all; a small portion) tend to never really feel that way, rather they simply have all the angst and nothing else. Donnie Darko contains every last bit of that angst. Yet more than that with its science fiction leanings Kelly gives this story a legitimate feeling of that youthful wisdom lurking amongst the apathy of suburbia.
The central performance from Gyllenhaal is affecting, in many ways. He plays the teen angst so well, seeing him with his therapist in those scenes is often both engaging and also tense in its own right. Donnie comes off as an emotional young man. He represents so many teens in a perfect sense – part of him is dark, the other part calling out to the light. In addition, he feels real. He isn’t a caricature, but instead is a genuine depiction of a teenager, filled with confusing and rage and misguided emotion, and so much more. Gyllenhaal truly burst forth with this role. His performance is what keeps us so rooted in the eccentric story. If it weren’t for him, this film might not come off as memorable as it does.
Some movies I loved at 15 now don’t look so great. Donnie Darko is not one of those. Like cheese (if you’re into it), this is one experience which only gets better with age. Writing this in 2016, I expected maybe some elements might feel pretentious. They don’t, though. I’ve seen this movie so much, but haven’t watched it in about 7 years. So coming back to it, I wasn’t sure if Kelly’s film might have felt so amazingly effective simply because I was younger, I had those rosy eyes of a still 20-something man. Watching this again tonight, I realize it has nothing to do with me. This film is timeless. If I watch it again, in another 20 years, I expect to feel no different about it. Maybe with more decades behind me the themes, the plot, everything may make even more sense to me then.
Nevertheless, right now I can’t stop loving it. Donnie Darko is a hugely interesting piece of work, Richard Kelly still doesn’t get enough credit and his later projects were only more misunderstood than this one. Just don’t discount this one as muddled, as a completely teen movie, or anything like that. This has so much worth inside. Let it wash over you. Some films, as this one is, are an experience rather than merely a bunch of moving images telling a story.
Directed by Evan Goldberg & Seth Rogen
Teleplay by Sam Catlin
Television Story by Catlin, Goldberg, & Rogen
* For a review of the next episode, “See” – click here
Here we are, the series premiere for AMC’s adaptation of Garth Ennis and Steve Dillon’s graphic novel(s) Preacher! So excited. Let’s dig in.
We open on a view of outer space, as something rushes around the galaxy. Even bursts a hole through a ring around Saturn. It also cries like a baby, or at least we can hear the cries of a baby. Very interesting (I gather that’s something people who know the comics understand). Heading into Africa. Just like a comic book right off the bat in the way it looks and feels. Dig it.
We cut to a priest in his little African church preaching to the congregation. Naturally, that fucking thing from space is headed right for this poor guy. You already know that. It bursts through the doors and blasts him hard, shocking everybody. Of course everybody thinks it’s a “miracle” and they could not be farther from the truth. The priest rises and speaks in a terrifying voice. Before bursting into a spray of blood over the people. A great opener.
Now we’re with Jesse Custer (Dominic Cooper). He wakes in a small room, bottles of booze empty at the bedside. There’s this great little moment where he fixes the sign way out front of his church in Texas, obviously tampered with by some young men being trouble. Father Custer doesn’t exactly command the attention of his congregation reading off his papers, as little kids flick their iPads and others just roll their eyes. Outside everybody is barbecuing and having fun, a few drinks, all that sort of stuff. Custer hears the problems of his people, inconsequential moments. Except for one little kid that’s worried about his mother. Worse, he wants the preacher to hurt his father for beating up on his mom. Seems before Jesse was preaching he did… things. Ah, foreboding little kid. Custer freaks the kid out a little. Freaked me out, too. Still, doesn’t do much good for the kid whose life is probably hell at home.
I love this first ten minutes. Lots of good stuff. And that goodness continues.
The little Texas town is a wild spot. Big ruckus about. Sheriff Hugo Root (W. Earl Brown) is awesome, as usual. Love how he blatantly sees Jesse swig some whiskey in his truck, but completely ignores it. He also ignores a lot more than that in his town. Root doesn’t seem to like the preacher much, so I’m looking forward to watching that develop. I’ve not yet read the graphic novels, I know nothing really of the story. Dig this on its own.
We then switch to 30,000 feet up in a nice little sequence taking us to a plane in the sky. Enjoy the directing from Goldberg and Rogen so far in this episode. Very stylish.
Cassidy (Joseph Gilgun) and others are enjoying themselves in a jet. Flying high while flying, as in coked up. Cassidy ends up coming across a Holy Bible marked with some creepy shit throughout. A few moments later he starts an amazing fight with a homemade flamethrower, taking on guys with axes and crossbows and swords – oh my! – and this is one hell of a fight sequence. At one point, Cassidy starts cracking off beer cans like golf balls and it’s golden. A guy tries pouring Holy Water on him calling Cassidy an “abomination” then proceeds to get chowed down on, right in the jugular. Yikes. I’m loving this character already. Going in blind, not knowing the comics, this is a thrill ride for me. When the plane is fucked Cassidy siphons himself off a pint of blood then jumps out. What a cool vampire bastard.
Back down on the ground, Jesse eats breakfast with Emily (Lucy Griffiths). She helps out at the church. We’re graced by Mayor Miles Person (Ricky Mabe), a great actor playing a hilariously nebbish type of character.
Although we’re quickly whisked to Africa, where the priest was attacked by the presence. And some men are investigating. Hmm. The plot thickens.
Jesse checks on a man named Walter who hasn’t come in to work. A woman is in the shower, which sort of unsettles the preacher, so he heads on out.
Another quick switch sees us in a fast flying car heading through corn fields. Inside, Carly Simon’s “You’re So Vain” plays on the radio and Tulip O’Hare (Ruth Negga) fights with every bit of her strength, tooth and fucking nail. The action so far in this pilot episode is just incredible, I must say. The fighting is spectacular. Tulip kills the dude in such an awesome way. She gets chastised by a brother and sister for running around beating things up, killing people. “A girl doesn‘t always need some stupid guy helping her,” the little girl exclaims, likely summing up exactly what Ms. O’Hare is all about. She’s good with kids, good with fighting. Good with making bazookas and taking down platoons full of men. God damn regular Rambette.
Flashbacks of Jesse’s briefly reveal his father might have been killed. For those of us that haven’t read the comics, this is a mystery starting out. Like how they only give us a taste. Not too much at once. At the same time, Cassidy is a splattered mess in the ground, stuck in a hole. Amazing effects. Creepy little scene, as he finds himself something to eat.
We zip on over to Russia. In a temple, a similar event to the one in Africa happened. Brains, blood everywhere. Some men show up to investigate again.
Custer is busy about town. He meets with the kid’s mom from earlier; she claims BDSM type stuff. Then he’s over meeting with Tulip in her car, even finds an ear. Though she tosses that one off, both figuratively and literally. Their dynamic is interesting, they obviously have history, and that’s all coming into play in their current relationship. What I love most is how we get a real sense of Jesse as a preacher, a genuine man of the cloth, because he sees everybody, he goes around talking to them, he’s just like a small town preacher is in real life (I come from a relatively small town).
Another interesting piece – Sheriff Root is making a Tabasco and meat smoothie, which Jesse brings up to the one, the only Arseface (Ian Colletti). Poor guy. Butthole for a mouth. He tells Jesse he used to talk to God, and he could hear him talk back. Real faith. Now he doesn’t hear anything. Seems Arseface did something, bad, as it looks. Is that what made his mouth look like an anus? I feel bad for him now. Can’t wait to discover the full story. Lots of intrigue for an outsider like me that hasn’t read any Preacher.
In a bar, Cassidy arrives and sits next to Custer. On television nearby it says Tom Cruise has exploded. Amazing. Then Jesse gets a fight thrown at him by the husband of the wife he talked to earlier, Donnie Schenck (Derek Wilson) about all the abuse stuff. Oh my, the preacher’s being pushed to display his fighter side. And fight he does. Not just one man, a bunch. Big, small, all sizes. He kicks a ton of asses. Before breaking the abusive father and husband’s arm viciously.
Cassidy: “Jesus, what kind of a preacher are you?”
Love Joseph Gilgun. He plays Cassidy incredibly, makes me laugh so much. Furthermore, he and Dominic Cooper have chemistry. They are each quite different in their roles, obviously. But also they make it all the better with their portrayals of the respective characters.
Custer says he’s quitting. He doesn’t feel it’s going to work in that town. Not any more. Too much history, I imagine.
Up at the church he finds something strange going on inside himself. He talks to God, asking for answers or else he’s “done“, in his own words. When he gets on his knees and begs forgiveness, nothing comes. Unsurprised, he sits back for a cigarette. Only something other than God has that answer for him. A presence moves forward to where the preacher stands. Then it takes him off his feet, flinging him back.
Later, Jesse wakes in bed. Emily is there to comfort him. He’s been out for three whole days. Coming to he feels different. He acts differently. He even makes Ted Reyerson (Brian Huskey) head to see his mother, so that he can be honest. To open his heart and be true. He literally opens his chest cavity. Takes the heart out for dear mom. “For all this I am responsible,” says Jesse as we cut directly to him. “This is why I‘ve come home. To save you.”
Afterwards, the two men checking into all the strange incidents around the globe are in Texas. They know that the thing from outer space is at the church. Excited to watch that play out further.
What a whopper of a pilot episode. Again, as someone not having read the comics this is a lot of fun. I’m sold already. Bring on more episodes and let’s have a fucking riot! Preacher delivers the goods on all fronts.
The Interview. 2014. Dir. Evan Goldberg & Seth Rogen. Screenplay by Dan Sterling; story by Rogen, Goldberg & Sterling.
Starring James Franco, Seth Rogen, Lizzy Caplan, Randall Park, and Diana Bang.
Rated 14A. 112 minutes.
This film will no doubt divide people. There are a lot of people who want you to believe watching The Interview is some sort of patriotic act. Fact is, if Sony hadn’t initially backed down because of the threats over its release this would have just gone into theatre. Sure – the threat is what started it, but essentially Sony prevented everyone from seeing it by negotiating with terrorists. All that being said, you should see this just for the fact we should never let anyone tell us what to see, whether it’s a person, a government, our government, a foreign one, or anybody. Never. Now that Sony has decided to put it out, you can through Google, Xbox, and other outlets – plus, it’s a cheaper alternative than actually seeing it in theatre.
People need not be looking at this as some sort of way to take part in activism. It’s not. If the movie were a bit more satirical than outright foolish maybe I’d see it in more of a political light. This movie is in no way actually political. I’m sorry if you see it that way and disagree – I respect those opinions.
Personally, I just can’t enjoy this in any other way than a bit of stupid fun, as opposed to something like Bulworth, which on the surface feels silly at times but really has a true message behind things. The Interview has points it seem to want to make, claims about the way North Korea treats their people, et cetera. Unfortunately, there are less hits than the multiplicity of misses, and there’s mostly just a lot of jokes falling flat. While I love both James Franco and Seth Rogen, they’ve done much better before with This is the End and Pineapple Express.
Everyone knows the plot of the film because unless you’ve been hiding under a rock, or living in North Korea (and not working for the Supreme Leader), you no doubt heard something about The Interview. Two trashy journalists, host Dave Skylark (Franco) and producer Aaron Rapaport (Rogen), similar to the type of guys and gals who populate TMZ’s “newsroom” (pains me to even call it that), end up scoring an interview with Kim Jong-un, who is apparently a big fan of their tabloid show “Skylark Tonight”. The CIA gets wind of their interview and taps them both to assassinate Kim. Of course things go wrong in, supposedly, hilarious fashion, as neither Rapaport nor Skylard are equipped, mentally or physically, to handle such responsibility.
One of the first parts I really didn’t enjoy was when Skylark feeds Aaron ecstasy. Now, it’s not because I’m afraid of drugs; on film, they can be especially hilarious when portrayed correctly. My problem with this quick little segment is that it feels like Goldberg and Rogen just said “hmmm we need a segue from one scene to another – let’s recycle”. It reminds me so much of This is the End when Jay Baruchel accidentally drinks a can full of ecstasy; it then kicks into a little montage of them all high as hell getting crazy. I enjoyed it the first time. This one just felt out of place. While I did laugh because I always find it funny in a movie or television show (never in real life – and that’s for fucking real – never do this to anyone) when someone ingests drugs unknowingly, it really is completely recycled from their previous collaboration.
This scene also just didn’t fit at all. They could’ve introduced Lizzy Caplan’s character in any other way. For some reason, they decided this little drug-fueled sequence leading to Franco & Rogen waking up in the same place was the best. Maybe it was to make room for the raunchy, but really hilarious, “dick stink” joke Franco plays out. We laughed pretty hard at this one, I have to admit. Overall, I just don’t think it played well. I know the point was to have the two main characters somewhere alone together, so as to allow for the secret CIA meet with Caplan, however, I have to imagine there was a better way to write this scene than the scene that exists.
My problem with The Interview doesn’t lie with all the crude humour or any sort of perceived offensiveness. Not at all. It’s not particularly a great comedy. In the slightest.
I do find Seth Rogen funny. I’ve honestly considered myself a fan of his ever since Freaks and Geeks and Undeclared. I like more of his recent work, too. For me, though, this is just not a good example of his best work. While Rogen is absolutely one of the funnier parts of The Interview, that isn’t to say it’s one of his funnier movies.
One example of a real good scene for Rogen is when he and Diana Bang share a “love scene” (you’ll understand the reason behind my use of quotation marks once you’ve actually seen the movie). It’s not just funny because of the physical comedy involved – Bang and Rogen are both really hilarious here. Genuine laughter. There’s also another very quick, crude little moment with the two of them I did not expect. The girlfriend and I laughed, as well as being generally surprised, when this happened. It’s quick, but an effective little gag.
I also like James Franco quite a bit. Maybe even more than I like Rogen. No matter how people view Franco I’ll always enjoy his performances because I usually find him pretty engaging, as well as a fairly interesting actor. On the other hand, there are a few of his movies where I don’t really enjoy him. Throughout The Interview I swayed back and forth between finding a few of his scenes funny, to being perpetually annoyed with his character; and that’s not in a sense that he was trying to be annoying. Certain jokes Franco tries to pull off here really aren’t funny. They verge on being worthy of a cringe or two. While I found some bits really funny (example: the bit with Eminem at the beginning was funny), others that were maybe not meant to be as funny (example: Skylark finds some fake fruit setup in a grocery store), certain scenes intended to play for outright laughs went over like a wet fart in church (example: “hate us ’cause they ain’t us” both in the earlier scene with Rogen & later in the scene with Randall Park were excruciatingly bad). There was just such a mix with Franco’s performance as Skylark. I don’t know if it’s how Franco played the character or how his character was written, but I just couldn’t get into him consistently enough to enjoy.
Some say Randall Park is absolutely hilarious in this, as if his performance was a revelation. He was competent enough, and yes, I absolutely did laugh at a handful of moments with him. Regardless, it wasn’t anything great. He looks a fair bit like Kim, though not at all identical, but the role itself (not Park – he did a decent job) isn’t exactly written well. I mean, the stuff with Katy Perry was funny during the tank scene. I laughed hard. Then, once they brought it back from the dead and beat it to death, I just got sick of the whole thing. The role of Kim could have been satirized much better. I don’t understand how anybody can’t see that – world leaders have been skewed with more clever wit in a movie like Dr. Strangelove, where even the Russian president’s role was hilarious while his dialogue is never actually heard, only second-hand through Peter Sellers as fictional United States President Merkin Muffley. That is not Park’s fault whatsoever. The writing for Jong-un’s character in the film was sloppy. They had a chance here to really knock it out of the park with a biting characterization. Instead they went solely for the slapstick comedy. While I do enjoy certain slapstick-style comedies, this just didn’t connect because it was really lazy, opting for silly jokes such as Kim Jong-il telling his son margaritas are “gay”. On the surface they’re good for a chuckle, but little else.
Honourable mention for Franco must go to – the end of the scene where Skylark busts into Aaron’s office to let him know about Kim Jong-un being a fan of the show. Another guy from the show busts in and claims there’s a possible video of Matthew McConaughey having sex with a goat, to which Skylark replies: “Get the goat! Get the goat! (turns to Aaron) I got some questions for that goat.” Honestly, just the way Franco does the turn, looks at Rogen and delivers the line, absolutely slays me. There are some really great little throwaway lines in here like this. That’s perhaps the problem. There doesn’t feel, to me, like there is much of a constant throughout The Interview, but rather a ton of tiny jokes thrown together in a script. Worse still, many of the jokes, even some of the actual funny stuff, often rely solely on the bromance between Franco and Rogen. I do enjoy their hilarious friendship, I just don’t want to watch a movie where they’re not playing themselves and yet still playing themselves somehow.
While a lot of people have high praise for The Interview that is just one bandwagon I cannot jump on, even if I wanted to hitch a ride. While I found it funny enough to make it through the near two-hour running time, I don’t think I’ll ever watch it again. I really wanted to watch it, and pay for it, because I do believe in freedom of speech. Although I don’t necessarily think this is the greatest representation for this particular right, people really should go see it just to make your own personal statement; you should never let anybody, as I mentioned earlier, determine what you can or cannot see in terms of art (I mean real art – pederasts unfortunately use this rhetoric to try and justify their sick visions of “art”).
On the other hand, don’t expect The Interview to really break down any sort of barriers or any new ground in comedy. This really is meant to just be a fun comedy. Due to all the controversy and the hackers, North Korean or otherwise, people want to give this movie more meaning than I believe it ever intended to convey. I expected more in that sense, however, in the end I’m just ultimately disappointed by the comedy itself. I’ve enjoyed lots of what some critics would like to call “low brow comedy” (for instance I love Dumb & Dumber and even lesser loved raunchy comedies like Kingpin), I don’t have anything against crude humour, dick jokes, anything like that – I’m 30 and I don’t think I’ll ever stop laughing at fart jokes. But even in the dirtiest jokes there’s still a way to tell them to ensure they actually make people laugh.
Basically, I just don’t think the performances, all together, add up to enough. Rogen is the only one I really found funny from start to finish. Some may even disagree with me on this point, too. Caplan and Bang weren’t in there enough to really be hilarious, and they were great female roles, which is sad; I particularly enjoy Caplan and wish her character was better. There are a lot of individual jokes I enjoyed (the honey pot/honey dick lines wore away my nerves after the numerous repetitions), but I can’t say this is anything more than a mediocre comedy at best. See it – only to say you didn’t like cyber terrorism ruin our collective right to see the movies we want. Otherwise, don’t expect much more than a few laughs and a lot of Franco hamming it up beyond belief.