I went to this movie expecting to get about 90 minutes of good-natured fun without having to worry about plot-points and hidden messages. RV delivered.
Okay, not everyone out there enjoys parody and satire. Some people just can't take a joke. Smart writing in comedies seems to have gone the way of dodo with films like Are We There Yet?, The Benchwarmers, and others having insanely huge opening weekends.
Enter writer-director Paul Weitz, who seems to be a renaissance man when it comes to the modern comedy.
How many movies does one guy have to sit through that involve an attempted assassination of a Hollywood-inspired President? There have been so many and nine times out of ten, they are awful.
What happens when you have a continuously-screaming heroine, an assortment of grotesque hellbound minions, and enough razor-wire to choke a small country? Well normally it would be a Hellraiser sequel.
Now imagine this if you will.
There are so many thingz wrong with thiz movie, I don't know where to begin.
All right, the immense popularity of American Idol managez to parody itself. Even casual viewerz of the show know just how hilariouz some of the auditionz can be.
Interview: Mark Waters, director of the upcoming Spiderwick Chronicles
Posted by: Mark McLeod • April 20, 2006 @ 12:00am
The first time I saw a film by director Mark Waters, it was the dreadful Freddie Prinze Jr. model drama, Head Over Heels, his second feature after The House of Yes, which was by Hollywood standards an independent production and one which I have since enjoyed.
It has been 26 years since 1980's Airplane!, which unleashed a brand of comedy that is still embraced to this day. That film took parody and slapstick to a new level in motion pictures.
Now one of the creative forces behind that landmark film, director David Zucker, returns to silver screen.
Are you one of those movie-goers who is annoyed when a film is too cheeky? You know those kinds of films where you never get caught up with the characters because they all think they are so smart? Well, I had that problem with Lucky Number Slevin, and not to mention I guessed the film's final twist about five minutes in.
In Hollywood things go in cycles. For the longest time, horror was box office poison -- a genre mainstream audiences avoided in droves and was frequented by a small but dedicated group of fans. All that changed when Scream hit screens in 1996, and what's followed is an almost non-stop barrage of horror movies.
Somewhere buried within the mists of steaming hot-tubs, intertwined legs, ravishing love scenes, and razor-sharped tension, Hollywood has misplaced the erotic thriller.
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