And you wonder why Apatow’s overlong, forgettable films are about as edgy as a baby’s pacifier.

Huffington Post:

While accepting the Critics’ Choice Award for Best Comedy film, “Bridesmaids” producer slammed Jerry Lewis for a sexist remark the legendary comedian once made.

“Jerry Lewis once said that he didn’t think women were funny, so I’d just like to say, with all respect, ‘F*ck you!’” Apatow exclaimed at the end of his speech to cheers from the audience.

Lewis made the comment in 1998 at the U.S. Comedy Arts Festival in Aspen. He told an audience during a Q&A session that “I don’t like any women comedians” and “A woman doing comedy doesn’t offend me but sets me back a bit. I, as a viewer, have trouble with it. I think of her as a producing machine that brings babies in the world.”

With its all female leading cast headed up by co-writer Kristen Wiig, “Bridesmaids” scored critical raves, took in $288 million worldwide and is nominated for three Golden Globes. Though it seems silly to think that there were skeptics, its success proved to many in Hollywood that women can anchor successful broad comedies, not just the romantic comedies and “Sex and the City” films.

Jerry Lewis pushing ninety and this jerk is making his life miserable over a 14 year-old remark?

How ballsy.

(more…)

Somebody in Hollywood didn’t get the memo that rebooted TV properties from the ’80s are a dicey proposition.

Just ask the folks who gave us “The A-Team,” the wannabe blockbuster that made us pity the fools who sank good money into it. Now, the creatively-impaired film industry is about to give us “21 Jump Street,” the film version of the TV show which gave Johnny Depp his first taste of fame.

The new film, hitting theaters Spring 2012, stars a thinner Jonah Hill and Channing Tatum as detectives working undercover in high school to sniff out a drug ring.

Depp will have a cameo in the film, a belated thank you for the property which launched his career. We don’t see Depp in the trailer, nor do we get many laughs from the two-plus minute tease.

(more…)

Are we allowed to have nostalgic feelings for the ‘American Pie’ films yet?

After all, the original is only 12 years old, and not only did we get two theatrical sequels but a gaggle of straight-to-DVD ones we’re better off forgetting.

But here comes ‘American Reunion’ all the same.

—–

The new trailer for the April 2012 release hits on the expected plot points – Stifler’s mom, Jim’s Dad and, well, that’s mostly it. What’s shocking is how tame it all feels. Yes, you might get a little buzz from seeing the original cast members again – how did they land Tara Reid? – but for an envelope-shredding franchise the new films appears … safe.

(more…)

…AND NOW A WORD FROM LIBERTARIAN COMEDIAN WILL FRANKEN…

“Hello gang at Big Hollywood. This is libertarian San Francisco comedian Will Franken (www.willfranken.com) here. I hope you enjoy this clip. It’s my interpretation of the ideological “handshake” between a multiculturalism-obsessed West and radical Islam. What happens when cultural relativism escapes the confines of the universities and finds its way into our oldest and most cherished institutions? Well, using a little character comedy, a few sound cues and some costume changes, I surmise the possibility of Christianity morally equivocating itself out of existence — leaving a barbaric monster to emerge in the vacuum. After a nearly four-year hiatus, I’ll be reprising this piece Saturday, July 30th here in San Francisco. Keep up the good work, BH!”

Thanks, Will.

Break a leg this weekend.

For a preview, see Will in politically incorrect action right here.

–PEE WEE HERMAN RETURNS? –
 

I’m as big of fan of Tim Burton’s 1985 “Pee Wee’s Big Adventure” and “Pee Wee’s Playhouse” as anyone, but who really wants to see a fifty-something guy connected with a salacious arrest play a man-child character developed over a quarter century ago?

(more…)

Bridesmaids is a chick flick in the way that a Rolls-Royce is a ride. True, the movie is focused on female concerns. But it’s also a Judd Apatow production, directed by Apatow’s old Freaks and Geeks colleague, Paul Feig, and starring Apatow veteran Kristen Wiig, who also cowrote the script. So while a vein of sweet feeling runs through it, the movie’s distinguishing feature is its grenade-like blasts of breathtaking raunch. Reflecting on an ex-husband’s new squeeze, one character says, “She’s still a whore. I’m sure she greets him in the evening beaver-first.” Another describes what life is like with teenage sons: “There’s semen all over everything—I cracked a blanket in half.” You’ll notice that Kate Hudson was not invited to participate in this picture.

—–

Wiig, so long a fixture on Saturday Night Live, makes a persuasive claim to movie stardom here. She plays Annie, a woman edging into her late thirties with little to show for her life to date. Annie once had her own business, a specialty cake shop; when it went under she lost all her money and, shortly thereafter, her last loser boyfriend. Now she’s back to sharing an apartment with an obnoxious roommate (Matt Lucas) and his annoyingly ever-present fat sister (slobalicious Rebel Wilson). Her love life consists of demeaning hookups with a slick creep (Jon Hamm must do more comedy) for whom she’s a third-tier booty call. And she’s been reduced to working in a jewelry store, where she struggles, often unsuccessfully, to stifle nasty wisecracks about the engagement rings she has to sell.

When her lifelong best friend Lillian (Maya Rudolph) suddenly becomes engaged, it throws Annie’s dead-end life into stark relief. She gratefully agrees to be Lillian’s maid of honor; but then a new friend of Lillian’s moves in on the big event—rich, beautiful, hyper-organized Helen (Rose Byrne)—and Annie is slowly edged out of her key nuptial role. A series of head-butting confrontations ensues—among them a bout of snarling champagne toasts at Lillian’s engagement party—on the way to the climactic Annie-Helen showdown you know must ultimately come.

(more…)

The Oscar-nominated movies in recent years have been enough to make a grown man cry… Or worse. Consider “There Will Be Blood,” “No Country for Old Men” and “The Reader” as a sampling of the morbid films jockeying for Oscar glory. This year, add Oscar wannabes “The Road” and “Precious” to the list.

Newsweek scribe Ramin Setoodeh writes about the trend in the liberal magazine’s latest edition. Setoodeh bemoans the fact that some of the best films lately take a too sober view of society. On that we can agree.

Then, Setoodeh whips out his trusty Bush bashing cudgel and starts a whacking:

You can blame Hollywood’s doom and gloom on the Oscars, but I’m not going to. Instead, I think it’s George W. Bush’s fault. Most liberal directors felt restless under his presidency, and they pushed the envelope with over-the-top, operatic tragedies. (more…)

Quick! Think fast – who’s making the most morally conservative films in Hollywood?
 
The answer may surprise you, but it’s none other than Judd Apatow. Yes, the writer-director of “The 40 Year Old Virgin,” “Knocked Up” and the new film “Funny People” might have a reputation for creating profanity-filled R-rated raunch, but in reality they’re actually films that uphold traditional values. And the fact that Apatow sneaks messages that are pro-life in “Knocked Up,” anti-promiscuity in “The 40 Year Old Virgin” and (SPOILER ALERT) upholds marriage against the temptation and forgiveness of infidelity in “Funny People” under the surface of all the dirty talk, means that he’s found a way to preach to far more than the usual choir and spread positive moral messages to those who might otherwise never choose to hear them.

I remember the night I first walked in to see “Virgin” back in 2005. I thought that it would just be one big sex comedy poking fun at the titular character. But as written by Apatow and the film’s star, Steve Carell, the film actually turned every convention one might have expected upside down.

Carell’s Andy had the “problem” of being a 40 year-old virgin, but after initally laughing at him and trying to get him laid, Andy’s co-worker friends slowly start to respect him. One who brags about cheating on his girlfriends winds up turning monogamous when he sees his impending baby on an ultrasound, while another may find his perfect match with a kinky gal but by the end it’s true love nonetheless. (more…)

Weighed down by a depressing premise made all too apparent by the theatrical trailer and advance publicity which made the film’s title too obviously sarcastic, Jud Apatow’s Funny People opened relatively poorly at the U.S. box office, taking in only $23.4 million. That was good enough to finish at the top of the heap for the weekend, but was the lowest number one opener since Yes Man last year.

Funny People showed much less audience draw than the great majority of Apatow’s and actor Adam Sandler’s previous efforts, and its failure to connect big with audiences cannot be blamed on any recent disappointments. Apatow’s Knocked Up and Sandler’s Bedtime Stories were both excellent films that did very well at the box office.

The magnitude of the disappointment for the Funny People writer-director and its star was summed up well by Reuters: (more…)

As one of America’s most popular comedians, George Simmons seemingly has the world on a string. But then one thing happens that can ruin everything: he’s diagnosed with a rare form of leukemia and told that even with aggressive experimental treatments, he only has an eight percent chance of survival. 

That happy-sad dichotomy is at the heart of the new film “Funny People,” in which Adam Sandler plays Simmons in a terrific performance that no doubt draws on his own experiences as a wildly successful comedy star. As written and directed by Judd Apatow in his third film, following “The 40 Year Old Virgin” and “Knocked Up,” the movie has an intimate awareness of the pain that often lies behind the laughter generated by our modern court jesters.  (more…)

Never in a million years did I think Judd Apatow was capable of making something as sharp and penetrating as “Funny People.” Never. Since the director first started dabbling in film, I’ve been a harsh critic of everything he’s touched, labeling it as over-rated, overlong, self-indulgent and as forgettable as last week’s “National Enquirer.” Well, past is the past. “Funny People” is proof that this was a director working towards something, earning his chops and feeling his way to bigger things. And it was worth the wait. “Funny People” is kinda brilliant — an insightful, touching and intelligent dramedy…  James L. Brooks at his best but with a whole lot of dick jokes.

Adam Sandler is George Simmons, a comedian/movie star as wealthy and popular as Sandler, but having turned his back on his family and cheated on his one true love, Laura (Leslie Mann), he’s now left with only “show-biz friends,” which means he has no friends at all. In-between making films like “Merman” (“Splash” with a guy mermaid) and private-jetting to corporate standup gigs that pay $300k, this desolate 40 year-old haunts a Malibu mansion and looks to fill his emptiness with willing groupies and everything money can buy. (more…)

I had a date with Judd Apatow.  It was around 1991 and I was between husbands: the out-of-work-Jewish-Gypsy-fire-eater-musician, and the high-school-sweetheart-Baptist-helicopter-police-pilot.  I needed a date to a premiere.  I knew the rules of engagement for a Hollywood career, and I tried to follow them.  It’s difficult to do this when you carry the burden of ethics around with you, but I tried to do it and stay within the bounds of morality.

1) Go to the right places.  I went to the Playboy Mansion to find an agent, and I did.  I was 21 and a Baptist virgin, and I found Betty from the William Morris commercial department there.  Check.

2) Wear something provocative to a Hollywood premiere so you can get free publicity.  I did that.  When I was an SNL castmember trying to increase my movie roles, I attended some Tom Hanks/Meg Ryan premiere (go figure – it was a flop!) in a see-through black shirt with a flowered bra underneath.  I felt ashamed, but I did get my picture in a few magazines.  All press is good press, and press leads to opportunity.

(more…)

We all know that for decades Hollywood has been creating preachy, leftist films all with the sole intention of annoying conservatives.  Conservatives have responded with numerous complaints, and then with complacency.  We now tend to ignore the liberal themes and watch the movies anyway, cheering on the hero, regardless of whether or not we actually believe in his ultimate goal.  Recently, however, Hollywood has pulled another weapon out of its arsenal to annoy conservatives, but it is destroying comedy in the process.

As the readers of Big Hollywood know too well, Hollywood began its attacks by ridiculing those of us who hold our values dear—claiming a pluralistic high ground that all beliefs are equal and we shouldn’t judge others (unless you happen to be one of those white, bigoted, hillbilly Jesus freaks).  Now that pluralism no longer seems to ignite conservatives with the same fervent anger, Hollywood has turned to nihilism; because, after all, when everything is true, nothing is true.  With no truth, Hollywood can no longer give its heroes any reason to mature or chase after dreams because lives and journeys have no meaning, draining the enjoyment out of their films. (more…)

Over the past few years, Judd Apatow has unfairly forced me into sounding like something of a prude. But Todd Phillips’ “The Hangover,” an absolutely fantastic R-rated raunch-fest, has just arrived just in time with the promise of redemption.

Raunchy comedies aren’t anything new; it’s just that Apatow (and his too-many imitators) are all about the raunch. You can feel the story gears turn to get to the raunch – to get to the “big” set-piece — you can feel the strain to fashion an iconic moment. Content has little to do with whether or not something’s funny. It’s all in the set up, and with the Apatow crowd you can see the wizard pull the strings. There’s practically a sign that reads, “Cool People Laugh Here.”

No matter how dirty or over-the-top the gag, if it evolves from believable characters and situations true to the world created by the filmmaker, you’re going to laugh. No matter how many times Eugene Levy catches Jason Biggs humping that pie, it’s a thing of comedic beauty because the set-up and the character reactions show full fidelity to what we know and what came before.

For this reason, “The Hangover” is easily the best and funniest comedy to spring from this genre in years. The three main characters are well defined, the story structure is seamless and the belly laughs just keep coming. Most important, unlike an Apatow-type film, you’re laughing too hard and enjoying yourself too much to be taken out of the story with a wince and an “Oh, gross…” (more…)

–

Lou Lumenick says this might be THE comedy hit of the summer.

Nothing would be more welcome than an R-rated comedy in this genre that doesn’t resort to forgettable gross-out gags, scenes that never end and a mind-numbing runtime. And if it sounds like that’s picking on Judd Apatow … it is.  (more…)

You could feel it in the air as Apatow basked in the glow of his 2006 double whammy, the hilarious “Knocked Up” and “Superbad.” By the time 2007’s “Forgetting Sarah Marshall” rolled around, the backlash was gathering steam.

I told a friend I’d seen it.

“Is it just more of the Judd Apatow formula,” he sniffed. It was, I admitted. But I like the formula. I like it a lot. And not to get too Harry Knowles on everyone, but I’ve liked it for a long while.

I liked “The Ben Stiller Show,” loved “Heavyweights” and what I saw of “The Larry Sanders Show.” Heck, I even chuckled at “Celtic Pride” and saw “The Cable Guy” opening weekend. Aside from the latter, most people didn’t see much of Apatow’s work, but those who had loved most of it. (more…)

With 400,000 Americans showing up every year at the Indy 500 and 200,000 more buying tickets to see NASCAR’s premiere event The Daytona 500, you would think that the most creative minds in Hollywood would be looking for a way to cash in with more movies about car racing and car culture. NASCAR has an estimated 75 million fans, and it is second only to the National Football League in terms of television ratings, so where are all the good racing movies?

Jordana Brewster is reunited with Vin, Paul and Michelle in FAST & FURIOUS

Universal seems to have answered that question by getting its successful street racing franchise back into the fast lane this weekend with Fast & Furious. The movie, which reunites Vin Diesel, Paul Walker, Jordana Brewster and Michelle Rodriguez for the first time since 2001’s original surprise blockbuster, has exploded to a high octane $30.11M or so on Friday and that could mean a $70M opening weekend. That would make it the all-time #1 opening for a car racing movie.

(more…)

Universal’s Fast & Furious will be “burning rubber” this weekend at America’s multiplexes as the original street-racing cast reunites after some sub-par chapters of the franchise.

The original The Fast & The Furious hit theatres in 2001 under the direction of Rob Cohen who had shown a knack for action with Dragon: The Bruce Lee Story ($35M US cume) and Sly Stallone’s Daylight ($33M US cume) and a savvy feel for bigger-than-life characters in his Golden Globe winning biopic The Rat Pack (which, if you’ve never seen you should put in your Netflix cue and prepare to be amazed by Don Cheadle’s turn as Sammy Davis, Jr.). In tow, he had a 34-year-old Vin Diesel in only his second starring role following the surprise low budget hit Pitch Black ($39M cume) and 28-year-old Paul Walker, who had just starred in Cohen’s forgettable The Skulls. Also in the cast was Jordana Brewster (As the World Turns) and a pre-Lost Michelle Rodriguez, whose most notable credit was a gritty little indie called Girlfight.

Vin Diesel returns for FAST & FURIOUS

The result was box office jet fuel. Seemingly out of nowhere, The Fast & The Furious scored a scalding $40M opening weekend and reached $144.5M domestic and over $200M worldwide. But Diesel, whose signature line in the original movie is “I live my life one quarter of a mile at a time,” didn’t like the script for the sequel (or they wouldn’t pay his asking price depending on who you ask). That led to the 2003 sequel 2 Fast 2 Furious directed by Academy Award nominee John Singleton (Boyz n the Hood) starring Walker along with rapper Tyrese Gibson and Eva Mendes. Despite Diesel’s conspicuous absence, 2 Fast still delivered $127M in the US. (more…)

It is an excellent weekend for Dreamworks Animation. Although the credit crunch prevented financing that would allow exhibitors to undertake the digital conversion of more of its theatres, Monsters vs. Aliens is benefiting spectacularly from the 2,075 or so standard Digital 3-D engagements and the added 143 Digital IMAX runs. The audaciously ambitious animated send-up of 50’s B-movies has used the “bleeding edge” of technology to milk an estimated $16.7M in opening day ticket sales. The which could translate to $58M or so for the 3-day weekend.

MONSTERS VS. ALIENS towers over previous 3-D releases from Hollywood

If that number holds, and, if anything, they could drift higher as family audiences flood America’s multiplexes, Monsters vs. Aliens will be the all-time third-best opening in the month of March.

(more…)

Jeffrey Katzenberg has been the film industry’s strongest proponent of 3-D over the past few years, and this weekend his advocacy will start paying dividends for Dreamworks Amimation. Monsters Vs. Aliens will debut with 4,104 playdates. That makes it the 13th-widest release in modern film history, and it becomes the biggest non-summer debut of all-time.

Jeffrey Katzenberg - The Pied Piper for Digital 3-D

ALL-TIME WIDEST NON-SUMMER RELEASES
- with summer defined as May 1 – August 30 -
1. 3/27/09 – Monsters Vs. Aliens – 4,104 playdates
2. 11/07/08 – Madagascar 2 – 4,056 playdates
3. 10/01/04 – Shark Tale – 4,016
4. 3/31/06 – Ice Age: The Meltdown – 3,964
5. 3/14/08 – Dr. Suess’ Horton Hears A Who – 3,954

(more…)