The Liam Neeson reboot is almost here as the teaser trailer has informed us, so this was an appropriate occasion to give the childish, immature, gleefully daft third entry in the Naked Gun trilogy another bash after a long hiatus.
It’s funny as fuck and I have nothing else to add.
This is the perfect little gem and remarkably not stupid or annoying.
A genuinely witty high school comedy with a dazzling Heath Ledger, it belongs to that magical period in cinema that is 1999, a year of glory. The only shite thing about this film is that it’s just 90 mins long, and let’s ponder the miracle that both this and Cruel Intentions (1999) occupy the same space.
It was 1999, though.
This was okay, remnants of Gosling in Drive (2011), but this is the non-moody, non-existential version. It’s not funny at all, though, and completely uninspired. And I turned it off an hour in as it wasn’t going anywhere in a good way.
But I’m sure all concerned had a laugh making it.
It’s risky with some of its jokes but they are actually funny (most comedies are joke-free affairs) and stem from the growing characterisation and chemistry of the two leads, and the bizarre credibility of the bit-part players, some of whom appear to have wandered off from the set of Lethal Weapon (1987).
Michael Keaton, eh. He can do no wrong in his Indian summer (I don’t wish to hear of this Batgirl … thing).
For a comedy/satire, it’s well choreographed in its action scenes, even more so than the majority of buddy cop movies out there.
And the late Ray Stevenson pulls off an Aussie accent. X.
Celebrating 20 years of Peep Show.
The indelible memory for me will forever remain Jeremy running over a dog and then eating it on a barge during Mark’s ad hoc job interview.
Because we can all relate to that.
Does it still hold up? Did it ever?
The antics of the Pythons have in recent years been wholly irritating, with their pointless TV travelogues and various silly projects, clearly living off past glories. But this has 97% on Rotten Tomatoes. It must count for something.
Oh dear, a pretty daft excuse for a feature-length movie, this was just boring. So smug, and vexingly self-referential in its desperation for laughs, sketches went on and on and I couldn’t cope anymore so turned it off. The impression I got was of a bunch of very lucky big babies with a budget.
It’s not funny at all.
I saw this so many times back in the day, but like Ghostbusters (1984), I only understood the simple gags and was oblivious to the allusions to an adult world; that, and I didn’t get the actual words the characters were saying because of my limited vocabulary.
It’s incredibly funny, and for a PG-13/12 certificate, quite shocking in the things it gets away with. It exists in that vast wilderness of terrible Eddie Murphy movies stretching 20 years to Dreamgirls (2006), as the only gem of the lot. Maybe he just couldn’t be bothered or genuinely thought he was picking the right material.
The sequel to this was inevitable. I’ve not seen it. The reviews were enough to put me off.
It’s beyond hilarious and it would not be made today; there would be riots in the streets. And the sad thing is that this ‘statement’ is true.
It’s a movie so funny, it knows it’s funny and takes the piss out of how funny it is.
It’s finally on Netflix, the streaming platform the excuse to watch once more what you’ve viewed 20-odd times already.
This is the ultimate comedy about Murphy’s Law, with one inane episode after another. But they are all credible and you believe every moment. It’s so well shot and edited, with the awkward reactions and expressions half of the hilarity. Moreover, it defines awkward. And there’s a seasonal quality to it, like it should be mandatory Christmas viewing.
Sadly, together with Analyze This (1999), it gave De Niro the impression he was first and foremost a comedian, and it kickstarted almost two decades of utter shite from the legend. This includes the truly horrid sequels to this masterpiece.
This admittedly amusing movie is not about a single thing aside from how the narrative strands collide, and they are loose connections at most. It is merely highly entertaining, brimming with energy and giggles, though we mainly laugh at how stupid and un-self-aware most of the characters are. It’s a lot of fun until Vinnie Jones turns up and sinks the joys. He’s just awful in everything, but especially this.
For some reason he transitioned from being a dreadful footballer to a dreadful actor. I blame that whole late ’90s ‘lad culture’ … thing, the heyday of Loaded magazine and the milder second renaissance of the beer-swigging hooligan. Only back then could someone so talentless be glorified for thuggery. He’s a former football hardman turned hardman ‘actor’ and this is meant to be hilarious. Sigh.
But it’s cracking until he turns up.
Wanderings and ... wonderings. 