South Park: Bigger, Longer & Uncut.

Review #2226: South Park: Bigger, Longer & Uncut.

Cast: 

Trey Parker (Stan Marsh / Eric Cartman / Gregory / Satan / Mr. Garrison / Mr. Hat / Phillip Niles Argyle / Randy Marsh / Clyde Donovan / Tom – News Reporter / Midget in a Bikini / Bill Clinton / Canadian Ambassador / Bombardiers / Mr. Mackey / Army General / Ned Gerblansky / Bill Allen / Fosse McDonald / Christophe – Ze Mole / Big Gay Al (singing voice) / Adolf Hitler / additional voices), Matt Stone (Kyle Broflovski / Kenny McCormick (Hooded) / Saddam Hussein / Terrance Henry Stoot / Big Gay Al / Ticket Taker / Stuart McCormick / Jimbo Kearn / Gerald Broflovski / Butters Stotch / American Ambassador / additional voices), Mary Kay Bergman (Sheila Broflovski / Liane Cartman / Sharon Marsh / Carol McCormick / Wendy Testaburger / Clitoris / additional voices), Isaac Hayes (Chef), with Jesse Howell, Anthony Cross-Thomas & Franchesca Clifford (Ike Broflovski), Bruce Howell (Man in Theatre), Deb Adair (Woman in Theatre), Jennifer Howell (Bebe Stevens), George Clooney (Dr. Gouache), Brent Spiner (Conan O'Brien), Minnie Driver (Brooke Shields), Dave Foley (the Baldwin brothers), and Eric Idle (Dr. Vosknocker) Directed by Trey Parker.

Review: 

"We grew up with Monty Python, as fucked-up as that all was, and Dirty Harry and Charles Bronson and ultraviolence. People seem to forget that the world has been ultraviolent for a long time. Both of us — and all our friends — grew up in that culture, and we’re fine. There’s nothing about Marilyn Manson that says, “Pick up a gun and kill people.” And there’s nothing about South Park that says that, either." -Trey Parker 

" If there’s an overriding message in South Park, it’s just to question authority. That’s the shit we make fun of." -Matt Stone

Believe it or not, I have been waiting for this day to come for a while. In what I would call an "on-and-off basis", I watched at least a dozen episodes of a show that was for whatever reason shown late at night (the one that served as an affiliate for Fox) for at least a few weeks in that time where kids remember the weirdest things (as opposed to bad friends) watched when they are 27. That one was South Park, and it sure is a hell of a time trying to get the memory of stuff such as "Mecha-Streisand" out of your head. The genesis for what eventually became a television show on Comedy Central was a couple of stop motion animated short films as created and voiced by Trey Parker and Matt Stone, who had first met in study at the University of Colorado. The shorts of "The Spirit of Christmas" featured a killer snowman and Jesus fighting Santa to go with a couple of kids that is all done on construction paper and 8mm film. Inspired by various programs such as Monty Python, the show (with all but its pilot using computer technology) that resulted from the folks that gave you Cannibal! The Musical (1993) and Orgazmo (1997) is one that has managed to stay on the air for over 25 years, although I have to admit that for some reason, only the early stuff (some favorites of the early stuff is the one where the kids try to get a cop to learn how to read or, well, "Jewbilee" [aired one month after the film] had Moses depicted as a dreidel and was hilarious) seems to attract my curiosity (incidentally Parker and Stone have noted their dislike of their earlier episodes in terms of writing, proving that sometimes ome really can just ignore recommendations). Anyway, the film was in mind as early as 1998, complete with the condition by Stone and Parker to have it an R rating. The episode "Death" was a key influence, since that one involved the comedy styling of Terrance & Phillip (fart jokes) offending parents enough to ditch their kids while they go off to protest (which naturally was Stone and Parker's response to certain criticism people had of the show). Parker and Stone wrote the film with Pam Brady while composer Marc Shaiman co-wrote the songs with Parker. Made at the same time that the show was in production with a slightly different animation usage (Alias|Wavefront PowerAnimator), the movie barely sneaked in with an R rating (evidently if you are a studio project, you get a specific target on your back when it comes to swearing) and was released on June 30, 1999 to general success.

Parker and Stone didn't make a second South Park film, but they did collaborate for a different kind of non-liveaction film in Team America: World Police (involving puppetry) five years later. Every so often, I have to remind myself that there is always someone pissy about folks saying swear words at certain moments. I enjoyed this about as well as I thought I would for a film that has a few amusing songs that actually work to the film's benefit. It manages to avoid most of the traps one can find when trying to adapt a show into a movie (such as feeling like just a compilation of episodes) with an engaging pace and plenty of ways to drain from the well of showmanship. Parker and Stone managing to make a film where one only needs three or four voices (which includes the smooth timing of Hayes and Bergman) to make something seem like, well, a film with cartoon atmosphere (such as with Cartman, probably the most amusing goon to ever terrorize the senses for laughter at and with). The songs hit that certain type of sweetspot in not overstating its welcome and, well, being pretty silly fun, particularly with "Blame Canada" in its scapegoating glory. Within a film involving a gay(ish) Satan and Saddam Hussein is also one about the dangers of parents trying to play scapegoat in blaming someone for what their kids pick up rather than looking in the mirror and actually making the effort to reach out to their kids. Amusingly enough, there were apparently a number of young folks who were reported to buy tickets for films adjacent to this one so they could try and sneak in. There is the usual type of creativity in havoc to be found here, such as the reveal of Hell (complete with song and ghosts of folks meant to generate biting one's lip such as George Burns or Ghandi) or the momentary bits of guest voices/making fun of certain people (incidentally, George Clooney had appeared in a previous South Park episode, voicing sounds of a gay dog). I can't resist the crude enjoyment, particularly since it proves that one can push the boundaries of animation in terms of crass nature to go with a message more interesting than corporate meandering. As a whole, the movie serves followers of the original show exactly what they would anticipate in anarchic charm without compromising its sense of self for a rewarding time in the full of piss and vinegar mindset.

Overall, I give it 9 out of 10 stars.

Monty Python and the Holy Grail.

Review #1448: Monty Python and the Holy Grail.

Cast: 
Graham Chapman (King Arthur / Voice of God / Middle Head / Hiccoughing Guard), John Cleese (Second Swallow-Savvy Guard / The Black Knight / Peasant 3 / Sir Launcelot the Brave / Taunting French Guard / Tim the Enchanter), Eric Idle (Dead Collector / Peasant 1 / Sir Robin the Not-Quite-So-Brave-as-Sir Launcelot / First Swamp Castle Guard / Concorde / Roger the Shrubber / Brother Maynard), Terry Gilliam (Patsy / Green Knight / Old Man from Scene 24 (Bridgekeeper) / Sir Bors / Animator / Gorilla Hand), Terry Jones (Dennis's Mother / Sir Bedevere / Left Head / Prince Herbert / Voice of Cartoon Scribe), Michael Palin (First Swallow-Savvy Guard / Dennis / Peasant 2 / Right Head / Sir Galahad the Pure / Narrator / King of Swamp Castle / Brother Maynard's Brother / Leader of The Knights Who Say NI!), Connie Booth (The Witch), Carol Cleveland (Zoot / Dingo), Neil Innes (First Monk / Singing Minstrel / Page Crushed by the Rabbit / Peasant #4), Bee Duffell (Old Crone), John Young (Dead Body / Historian Frank), and Rita Davies (Historian's Wife) Directed by Terry Gilliam and Terry Jones.

Review: 
"It was always a series of sketches linked together and we kept tightening and tightening it in the writing. It doesn't outstay its welcome and rather than wind down at the end it just stops abruptly."

"One of the things we tried to do with the show was to try and do something that was so unpredictable that it had no shape and you could never say what the kind of humor was. And I think that the fact that "Pythonesque" is now a word in the Oxford English Dictionary shows the extent to which we failed."

What is there to say about Monty Python that hasn't been said before? I suppose it has developed into one of those lightning rod kind of things to hear about in comedy - once you've seen it, you're either attracted to it for life, but if you don't it'll stick in your head for a while anyway. Far be it from me to say anything different from the obvious: Monty Python is one of the most famous comedy groups of all time, The group, which performed for the first time in 1969 for their sketch comedy series Monty Python's Flying Circus for the BBC, which ran for five years and 45 episodes. The six members all aligned in the late 1960s from different ways, since Jones and Palin performed with the Oxford Revue, Chapman and Cleese met at the University of Cambridge (where they first wrote for the amateur theatre club Cambridge Footlights), while Cleese had met the animator/strip cartoonist Gilliam while performing on a Broadway show, which led to him animating sequences for Do Not Adjust Your Set (1967-69), which featured appearances from people such as Idle, Jones, and Palin (who all except Gilliam had collaborated on The Frost Report prior to this). This was the second Monty Python film, but it was the first with a plot, since And Now for Something Completely Different (1971) was comprised of re-created sketches seen from the first two series (seasons) of the television show that was meant to introduce the group to the US market. When it came time for filming, the budget was set at $400,000, which eventually attracted investors such as rock bands Pink Floyd and Led Zeppelin to contribute 10% of the budget each.

As one expects, the film is written completely by the group, and Jones and Gilliam were tasked with directing (Jones would direct the two remaining Python features while Gilliam has gone on to direct further films for four decades), with casting being done by who wrote what scenario (for the most part). Adjusting to a low budget is nothing new, so having to do coconut shells to mimic horses galloping because one can't afford horses is a pretty amusing one (this also played into the climax). Understandably, it must've been a strange time filming a medieval film with chain mail and knitted wool armor in Scotland. Three decades after release, the film was adapted into a musical comedy in Spamalot (Idle co-wrote the music while contributing the book and lyrics), which proved a hit on Broadway in its initial run of 1,575 performances. Obviously the film has a tremendous legacy to it, and you can add this to the pile as well, since this is a fun experience to be had, a fascinating achievement for its six comedy stars/writers in its ridiculous nature and silly charm that make for a clear delight for 92 minutes. When the film grabs you, it doesn't let go, a testament to folks who know what works in timing and comedy while doing a whimsical King Arthur tale with sharp awareness for what makes a good tale with actors doing many parts for themselves. Chapman makes the best straight man to helm a film like this with deadpan finesse. The others prove just as funny, as one can expect from a film with so many quotable lines that are stated by folks that it only makes sense to note one highlight for each for a film with too many to say: Cleese and his well-timed retorts as a Black Knight to be dwindled away by Arthur near the beginning, Idle and his retorts with truthful minstrels, Gilliam and his animation talents and his one roar-inspiring quip about a shot of a castle, Jones and his creative ways of determining a witch involving wood, and the prolific Palin, up to the task of numerous characters with interesting quirks (one who says Ni! and wants a shrubbery) for effect. On the whole, if you didn't already know that this was a great film to check out, then go do so by all means, since it is a classic for its era that works itself for laughs across the pond (or in this case, medieval pond) regardless of how familiar one is with humor like this film possesses (which even led to its own word in the dictionary). Knowing the lines in advance doesn't hurt the best of comedies if one's head is (mostly) in the right place, and this proves no different in making for silly fun.

Overall, I give it 10 out of 10 stars.

National Lampoon's European Vacation.

Review #1060: National Lampoon's European Vacation.

Cast: 
Chevy Chase (Clark Griswald), Beverly D'Angelo (Ellen Griswald), Dana Hill (Audrey Griswald), Jason Lively (Russell "Rusty" Griswald), Victor Lanoux (The Thief), Eric Idle (The Bike Rider), John Astin (Kent Winkdale), Mel Smith (London Hotel Manager), Robbie Coltrane (Man in Bathroom), Maureen Lipman (Lady in the Bed), William Zabka (Jack), Willy Millowitsch (Fritz Spritz), and Erika Wackernagel (Helga Spritz) Directed by Amy Heckerling (#982 - Fast Times at Ridgemont High)

Review: 
It is interesting to note that I finally am getting to this film, the sequel to the original to National Lampoon's Vacation (#804) but paradoxically this serves as my third review of the Vacation series, since I also reviewed National Lampoon's Christmas Vacation (#771). In any case, I hope at least some of you fellow readers are enjoying Spring Break, or any sort of vacation. 

There is a certain amount of charm and amusement that sprung from the situations and the cast from the first film that made for a fairly entertaining movie, with Chase and D'Angelo being key highlights. The latter part of my statement is still true, but I can't say that this is a particularly good film. I don't hate it, but I know without much doubt that this is a fairly average movie. The biggest problem is that the film gradually feels repetitive the longer it dwells in all of these locations that the film gets itself to, feeling episodic and not always consistent. There are some famous landmarks seen throughout the film (with a few of them used for gags), which are fairly interesting to look at, such as Big Ben, the Eiffel Tower, and the Colosseum, so that's a fair highlight. Chase and D'Angelo manage to generate some amusement once again, being the best part of the film due to feeling the most adept for this material and the most familiar. Hill and Lively do okay, but some of the gags with them are a bit hit-and-miss, with the jokes involving the former binging on food seeming old after a while. Throughout the four locations (London, Paris, West Germany, Rome) is a bunch of different personalities and cast members that make for okay experiences to watch with the main four, with a bunch of cliches that one would expect. It doesn't really have anything too rip-roaring aside from a few moments involving visual gags and a bit of crass humor, but it isn't anything too particularly terrible, just being a bit silly (which I don't hate, actually). At least at 94 minutes it isn't particularly a big waste, but it doesn't too particularly well when compared to the original film. I don't find this to be anything too special, but sometimes that may very well just be enough on vacation.

Overall, I give it 6 out of 10 stars.

Movie Night: Casper.

Review #267: Casper.

Cast
Bill Pullman (Dr. James Harvey), Christina Ricci (Kathleen "Kat" Harvey), Malachi Pearson (Casper), Cathy Moriarty (Carrigan Crittenden), Eric Idle (Dibs), Joe Nipote (Stretch), Joe Alaskey (Stinkie), Brad Garrett (Fatso) and Ben Stein. Directed by Brad Silberling.

Review
What could go wrong with a film based on an animated cartoon series is my first question. How is the film is the next question. The answers will all be revealed (Hate when they say that) It has been a while since I've seen something of Pullman and Ricci (#193 -Independence Day. #77 - The Addams Family and #78 - Addams Family Values, respectivly.), and they do a fine job, given the material. It's a bit odd and off at times, some of the jokes don't stick as well (Though I kinda liked one line: "Who are you gonna call? Someone else.", by Dan Aykroyd of all people) The scenery and effects look pretty decent, unless you realize the actors sometimes talk to nothing (a common thing with CGI) It's slightly hokey at odd times, its acting from the other actors (Moriarty in particular) isn't exactly great or isn't used well enough (Idle), but the film still has a good charm to it and Pearson is actually good (My odd belief of child actors not being great is trading waters) It has a good Halloween feel to it, ghosts and all.

Overall, I give it 7 out of 10 stars.

Movie Night: The Transformers: The Movie.

Review #190: The Transformers: The Movie.

Cast
Judd Nelson (Hot Rod/Rodimus Prime), Leonard Nimoy (Galvatron), Robert Stack (Ultra Magnus), Lionel Stander (Kup), Peter Cullen (Optimus Prime), Frank Welker (Megatron), Susan Blu (Arcee), David Mendenhall (Daniel Witwicky), Eric Idle (Wreck-Gar), Neil Ross (Springer), John Moschitta (Blurr), and Orson Welles (Unicron) Directed by Nelson Shin.

Review
This film came after the show attracted kids everywhere with its premise and its usefulness. Anyway, the film may seem like a commercial for the upcoming third season for the show, but I find it is not so black and white as it seems. The voice acting is allright, with Orson Welles, the man who had impressed audiances everywhere 40 years earlier, entertains in his final role...as a planet. The visuals are impreesive, keeping you entertained in a typicalish run time of 84 minutes. I like that it doesn't stray from its themes of destruction fear. Though some might feel that it basically is a way to sell new toys, frankly I don't mind. I didn't grew up with these toys, I grew with Lego, so there ya go. Good visuals with good acting make a decent film. While the three films that would follow 20 years later might have been...whatever you might thnk (Reviews #57 and #58 are my opinions) It may not have been a big success whn it came out, but it at least is recgonized today for being more then meets the eye. Countdown to 200: 10...

Overall, I give it 8 out of 10 stars.

Movie Night: Shrek the Third.

Review #163: Shrek the Third.

Cast
Mike Myers (Shrek), Eddie Murphy (Donkey), Cameron Diaz (Princess Fiona), Antonio Banderas (Puss in Boots), Justin Timberlake (Arthur Pendragon), Rupert Everett (Prince Charming), Eric Idle (Merlin), Julie Andrews (Queen Lillian), and John Cleese (King Harold) Directed by Chris Miller and Raman Hui.

Review
This film is indeed tone set from the second one, and..it isn't as good as the second. The jokes here just aren't as good as the second one or the first one. Timberlake just doesn't work in this film because you really don't care for him in the first place. The joke I don't find very interesting is in the beginning where (spoiler) Harold, the King from the second film dies. Before that, there'a line: "Somebody better be dying!" It doesn't feel ironic, it feels...downbeat. Eric Idle and Rupert Everett also just don't work (Everett was okay in the 2nd one), Idle doesn't have much to do with his lines. The film is overall disappointing that lacks motivation with a touch of what the second film had. I'll mention only this for the fourth given that I won't review it this week (not with me): Better, better then this film. This ends Part IV of Dreamworks Animation Week. Stay tuned for Part V...

Overall, I give it 6 out of 10 stars.