This week on the HomeVideodrome podcast, Jim finally sees “Drive” and weighs in, Hunter reviews “A Very Harold & Kumar Christmas” and Jim reveals his love affair with “A Fish Called Wanda.” Also, we discuss Ryan O’Neal’s finest moment on film in Norman Mailer’s “Tough Guys Don’t Dance.” Head over to The Film Thugs to give it a listen.

You are already aware of whether or not “A Very Harold & Kumar Christmas” interests you. “Harold & Kumar Go to White Castle” is a bit of a stoner classic, possessing the sort of random logic that strings the best weed-fueled movies together. The sequel, “Harold & Kumar Escape From Guantanamo Bay,” was raunchier and had some hilarious bits, but never really came together as a complete product the way a lot of modern comedies fail to do. This third outing fares better than the second, adding a Christmas-driven plot to the stoned “After Hours” shenanigans.

This time around, Harold & Kumar have gone their separate ways as friends. Harold is a big-shot executive on Wall Street and lives in mortal fear of his father-in-law, which is completely understandable since the in-law is played by Danny Trejo. Trejo’s fearsome father has an intense love of Christmas, with special attention reserved for the magic of his homegrown Christmas tree.

While his wife is out with the family for midnight mass, Harold pledges to decorate the tree, hoping to make into a magical display and win the respect of his in-laws. His hopes are dashed when Kumar, still a bloodshot walking disaster, shows up to give him a mystery package, which contains a magical joint. One thing leads to another, and Trejo’s Christmas tree is destroyed in a freak accident, leading Harold & Kumar on an evening excursion to replace the tree, even if it means getting attacked by Russian mobsters, going on a claymated acid trip, or having yet another run-in with Neil Patrick Harris.

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If love really meant never having to say you’re sorry, I’d have enough time on my hands to get a PHD.

Yes, the tagline for director Arthur Hiller’s “Love Story” is unforgivably stupid, no question. Almost as bad is Ali McGraw’s performance as the gorgeous but doomed Jennifer. My wife hates this film and MacGraw’s performance so much that she only agreed to screen the Blu-ray with me so that she could delight in Jennifer’s cancerous demise. My wife’s tagline for the film is, “Marrying the studio head means never having to take an acting class.”

So what was it about this fairly mediocre 1970 tear-jerker that made it, not only the highest-grossing film of the year, but also the 6th highest grossing film of all time — the “Titanic” of its day?

Believe it or not, I saw this “chick flick” classic for the first time ever when the Blu-ray screener arrived last week, and thankfully I’m secure enough in my masculinity to admit that the story got to me. You can’t disagree with the film’s critics and their many criticisms, but in the end I’m not completely ashamed to admit that Jennifer’s death choked me up and that I found the third act a little gut-wrenching as that reality became increasingly inevitable.

For everything the story does wrong, it does two key things so right that those moments help to overcome the rest. When, in the middle of a perfect day, Jennifer tells her husband, Oliver (Ryan O’Neal), that she has to go to the hospital, it’s a real kick to the gut. Laugh all you want, but just thinking about it gets to me. And then there’s how we learn that she’s died. (No spoiler warning necessary. We’re told Jennifer will die in the opening scene.)

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As we move towards tonight’s granddaddy of all awards shows, I am starting to wonder several things: First, after seeing an editorial in the New York Times and a very drab and unhappy looking professor of women’s studies on Fox News call for just one best actor and best supporting actor award to end sex discrimination in Hollywood, I am starting to think lots of people are reading my blogs. Over a year ago I poked a little fun at the politically correct Screen Actors Guild for not using the word “actress” but still give and award for a “female actor.” The left has now jumped on my bandwagon so maybe there is hope for America and Hollywood!

The second thing that has been on my mind is which brand of political correctness will prevail this year’s Oscars. Will the “I’m voting for ‘Avatar’ because it ridicules America and its military” faction be stronger than the “It’s time a woman won best director” faction?

There are other political considerations in this year’s voting but this got me to thinking about past years and whether or not the nominations and awards really are all about the art. It seems that all sorts of considerations, political, social, personalities and career get mixed in and often the storytelling gets left on the cutting room floor. In the interest of brevity I will limit my comments to the years I can actually remember, which, if I am honest, would rule out several years in the early seventies and mid-eighties. (more…)