Zoolander is one of the greatest comedies, spinning out its Glamorama-esque premise from a satirical take on male modelling into a deconstruction of masculinity and a surrealistic degradation of plot, where David Bowie adjudicates “walk offs” and the perfect look stops a high-velocity shuriken. Perhaps most importantly, it’s also hilarious, packed to the brim with…
By any ‘objective’ measure, People Places Things has a terrible screenplay. It’s a romantic comedy almost completely bereft of comedy. It centres its entire first act on the challenges of being a single father – with cartoonist/teacher Will (Jemaine Clement) frantically dashing his twin daughters between work and home and school – before jettisoning any…
Paul Feig has a lot to answer for. Judd Apatow too, come to think of it. These two men, who cut their teeth on Freaks and Geeks, have cast the mould for modern American comedy: in Apatow’s case, extended tales about arrested adulthood, in Feig’s case, putting women front-and-centre of the kind of crude comedies…
Great Christmas films are always about family. Whether it’s the traditional soppy Santa Claus tale à la Miracle on 34th Street, Will Ferrel trying to reunite with his dad in Elf or John McClane blasting through Eurotrash terrorists to get back to his wife in Die Hard, at these films’ core remains a deeply conservative…
It’s fitting that Kiwi splatter-comedy Deathgasm introduces its characters with notepad-scribble-flourishes. You see, this film – which combines death metal fanaticism with crude humour and imaginative gore – feels like the product of a couple Year 10 boys giggling at the back of science class, cobbling together ideas in the margins alongside deeply-etched pentagrams and…
Successful speculative fiction is essentially sociology. It’s grounded not in the details of the alternate reality it concocts, but in investigating how societies and individuals would react to different structures and opportunities. The best speculative fiction isn’t inspired by spaceships or wizardry; rather, it’s impelled by an overriding interest in human nature – a considered,…
There’s a germ of a good idea in Man Up, a disappointing rom-com starring Simon Pegg and Lake Bell. It’s the idea of its characters as “emotional jigsaws” – dating in their mid-30s/early-40s while burdened by the baggage of failed relationships. In Man Up’s world, the challenges of dating aren’t so much associated with finding…
The nature of romantic comedy has changed in the past 20 years. Sleepless in Seattle, Pretty Woman – these movies provided a fairytale aspect to the idea of romance: Prince Charming, the one person made for you. Nowadays, a hyper-realistic brand of rom-com has sprung up, grounded less in idealised perfect moments and more in…
Results is a conscious step towards the mainstream for director Andrew Bujalski, who cut his teeth on indie “mumblecore” features like Funny Ha Ha before wowing critics [who are not me] with 2013’s eccentric, experimental Computer Chess. This is decidedly more conventional fare – with recognisable actors (Guy Pearce, Cobie Smulders, Kevin Corrigan) in a…
Mistress America is Noah Baumbach’s second feature for 2015, and by far the strongest. His first effort, While We’re Young, parlayed an unconvincing generational-gap comedy into a weirdly-shoehorned meditation on authenticity in documentaries; Mistress America, thankfully, proves to be both a funnier comedy and a more insightful analysis of the blurred line between artificiality and…
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