Tag Archives: comedy

Not too Bad Santa 2

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As a cynic, particularly around the holidays, it seems strange that I have never seen Bad Santa, but then I am not much of a fan of Billy Bob Thornton, the titular character. Thus, as I headed out to see Bad Santa 2, I had few expectations and simply held out hope that I wouldn’t be completely bored.

Surprisingly, I actually enjoyed myself while watching this seriously flawed but nonetheless funny movie.

I suspect the new edition seems very much a reprise of the original with the main characters Willie (Thornton) and Marcus (Tony Cox) getting together to pull off yet another caper; in this case, the robbery of a Chicago charity run by scheming Regent Hastings (Ryan Hansen) and his almost pure wife Diane (Christina Hendricks). Complicating matters this time is the presence of Willie’s mom Sunny (Kathy Bates), the woman who raised Willie to be the miserable, alcoholic, criminal shit that we see today.

In many ways, the movie becomes one long series of double-crosses and opportunities for Willie to do the right thing, particularly by the doting man-child Thurman Merman (Brett Kelly), but failing to live up to the moments.

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Mommy dearest Bates is guaranteed to let you down

To say that Bad Santa 2 is dark and cynical is to cope with a language that simply cannot catch the nihilism of these characters and their life choices. Thurman is the only redeeming character in this story and that is likely only because he is a clinical moron, incapable of guile and oblivious to sarcasm. As the title indicates, this is the anti-Christmas Christmas movie that would drive even Jesus Christ himself to suicide (likely some time around Easter).

And annoyingly, this is exactly why I liked this film. It was so dark and treacherous, so cynically funny, that I could not help but find the darkness endearing. This is a seasonal film for the purely jaded and given the language and adult scenes, should not be viewed with a broader family.

As no doubt in the first film, Thornton’s Willie continually finds himself let down by the people around him, feeding his suicidal neuroses. Bates is a delight as Kathy Bates under the pseudonym Sunny Soke, a woman devoid of tenderness except when it is part of a larger scheme to screw someone over. And Hendricks is the inveterate do-gooder who has her baser side, Christian charity coupled with carnal itches that need Santa’s attention.

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Hendricks allows her libido to cloud her better judgement

There are so many things about this story that don’t work as a story, and the ending is a complete waste of celluloid, the screenwriters Shauna Cross (who also wrote Whip It) and John Rosenthal in his debut feature film seeming to have simply typed until they ran out of toner. And yet, for all of the short-comings, you don’t really care because that is largely life. Nothing ends where it should and never satisfyingly.

If you aren’t at least intrigued by the idea of setting your nearest nativity scene ablaze or mounting Rudolph’s head on your front bumper, I am not sure you should see Bad Santa 2. But if you were not repulsed by either of those ideas, you may find some dark dark pleasure in this film.

See also:

MovieReview360 w/ Shannon Leahy (YouTube)

Same old dirty tricks (The Guardian)

Bad Santa 2 works through mommy issues (New York Times)

Movie Review: Bad Santa 2 (Danny F Santos)

Colin Quinn kills w/ The New York Story

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I can only assume that Colin Quinn spends the hours before his comedy shows scarfing down industrial-scale oxygen tanks. This has to be true, if only to explain how he can spend an hour hilariously recounting the history of New York City without ever inhaling…although perhaps projectile vomiting the Big Apple’s history is more accurate.

Ask pretty much anyone who knows me and you will learn that I am a comedy snob. It takes a lot to make me chuckle, let alone laugh out loud.

I not only laughed out loud at Colin Quinn’s latest Netflix special The New York Story (trailer), I actually clapped while laughing out loud at several observations…and this was from my futon, not sitting with a theatre audience.

And before the laughter from one bit reached its crescendo (forget fading), you were already two bits behind, such was the ferocity with which Quinn delivered his perspectives of New York.

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The first two thirds of the show were the best, as Quinn explained and contextualized the arrival of each ethnic group to the city as a way of explaining why the attitudes of New Yorkers are unlike those of any other city in the world.

The last third, where Quinn took shots at political correctness and white guilt, was less funny but still had its share of laughs. This was the part of the show that seemed more like every other show I have seen that touches on race and ethnic relations.

But it is when Quinn becomes the people he describes, taking on mannerisms and recalling each culture’s absurdities, that he is at his best. His is less the vocal mimicry of a Russell Peters and more a distillation of their essence.

And his portrayals were made all the more engaging by the stage itself, which was decorated with settings familiar to New Yorkers—a deli counter, the docks, a front stoop, a corner bodega, an Irish bar—Quinn inhabiting each as he told the story of another group’s arrival in the city.

Colin Quinn Comedy Special

Quinn’s special was directed by long-time friend Jerry Seinfeld

This choreography makes The New York Story more a one-man stage play than a stand-up comedy routine. Not surprising, given the show first got its legs in a run off-Broadway.

In broader terms, whereas I have thought for several years that Quinn is funny—in particular, I miss his panel show Tough Crowd—I think he has really hit his stride in the last couple. What this special did for New York City, his last special Unconstitutional did for American politics, and with just as much humour and wisdom.

Perhaps, however, it is less that Colin Quinn is just now hitting his stride, and more that I have finally reached a place where I can appreciate him and his humours more fully.

Either way, I am glad we have reached this place and I hope we stay here for a while.

 

See also:

In The New York Story, Colin Quinn looks to stereotypes for wisdom—and finds some (A.V. Club)

Immigrants put the new in The New York Story for Colin Quinn’s newest Netflix triumph (Decider)

Mascots more a misscots

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After opening at the 2016 Toronto International Film Festival, Christopher Guest’s latest mockumentary Mascots was released to Netflix this past week. As a fan of his many earlier efforts—from This Is Spinal Tap to A Mighty Wind—I greatly looked forward to his take on the surreal world of sports mascots.

Unfortunately, this might have been a mistake, as the bar set by those movies was pretty high.

Mascots revolves around the struggles of five teams competing for the Gold Fluffy, the highest achievement of the Professional Mascots Association. One team is a feuding couple, trying to maintain a brave face while on-camera, but killing each other behind the scenes. A second subplot involves a son trying to live up to his father’s and grandfather’s legacies in a hedgehog costume.

Then there is an aging dancer who sees this as her last chance to go all the way, as well as a solo act simply trying to up his game, and an Irish bad boy whose story never really fleshes out.

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Pretty much sums up some of the stories in this film

As these five subplots buzz around, we also get to see behind the curtain as competition organizers try to hold everything together while vying for a broadcast contract with a fourth-tier cable company, and two former champs feud while trying to judge the contest.

Still with me?

Now, throw in a few more secondary characters and cameos, and you have an ensemble of about 25 characters pushing for air time.

Now as confusing and thin as this might seem, Guest has been able to make it work before in pieces like A Mighty Wind and Best in Show, using many of the same amazing actors: Jane Lynch, Ed Begley Jr., Bob Balaban, Fred Willard, Parker Posey, etc.

Unfortunately, things don’t seem to gel as nicely in Mascots, and the whole film seems to lack the heart of the earlier efforts. I mean, how do you compete with the simple love-story of Mitch & Mickey?

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Not really a fair comparison (Mascots, top; A Mighty Wind, bottom)

This isn’t to say, however, that there aren’t poignant moments in many of the subplots or that the actual mascot performances during the competition weren’t spectacular. But rather than being more than the sum of its parts, this film was surprisingly less.

This is where I think my expectations are part of the problem.

Viewed through a virgin lens, Mascots is somewhat entertaining and not a bad way to spend 89 minutes. It would make a great appetiser to tease the palate for a main course of the other meatier films. But as a dessert, it is significantly lacking.

Of individual note, Parker Posey’s interpretive dance student is painfully poignant and outrageously funny. Chris O’Dowd’s bad-ass sex fiend is completely wasted, however, and largely amounts to nothing. And I found the bickering couple—Zach Woods and Sarah Baker—completely distasteful, and the longer I saw them, the worse it got.

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Perfectly pathetic (Parker Posey)

Jane Lynch and Ed Begley Jr. were great but underused. Fred Willard was the only character Fred Willard has ever played. And the rest of the core ensemble barely managed more than cameos.

Mascots isn’t bad, but sadly could have been so much better.

 

See also:

Christopher Guest’s ‘Mascots’ fails to really cheer (Associated Press)

Latest from Spinal Tap’s Christopher Guest does not go up to 11 (The Guardian)

Still Figuring It Out: Baram & Snieckus

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If Elaine May and Mike Nichols were alive today that would be horrible, because Nichols was buried two years ago. (May is still alive.)

That said, I am sure they would be happy to know that the legacy they started in the 1950s is being continued quite ably by Naomi Snieckus and Matt Baram, who previewed their latest revue tonight at the John Candy Box Theatre in Toronto.

Long-standing staples on the Toronto comedy scene, Snieckus and Baram are veterans of the Second City and both have had their turn at television (Mr. D and Seed, respectively). But this real-life husband and wife are at their strongest when they stand across the stage from each other and reveal their neuroses in a mass therapy session that other people pay $15 to see.

The new show is aptly titled as they truly are still figuring it out. A combination of sketches, Nichols & May-style audio pieces, some improv, and playful audience banter, the show, which runs about 60 minutes, is still a work-in-progress, some bits decidedly more solid than others. But in many respects, that is the charm of a Baram & Snieckus production; it never feels complete.

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This is a couple who consistently commit to their craft, who are willing to run with anything that comes up—including an audience suggestion of Dante’s cab ride, which turned into a motivational moment for an under-performing Satan with Daddy issues. But what makes this particularly charming is they are not afraid to let the audience know when they realize a bit isn’t working, and we all lean forward to see how they’ll extract themselves.

Their choice of venue facilitates this intimacy with the audience.

Although I have every confidence that Baram & Snieckus would have no trouble holding an audience in a large theatre, all of the revues that I have attended occurred in small venues, holding no more than 100 seats. The John Candy Box Theatre is no exception, and the audience sits so close to the stage that they become a tripping hazard for the performers.

Thus, when you see Baram & Snieckus perform, it is like you’re watching their lives from their living room.

[For the record, I have never been in their living room and this completely unnecessary ankle bracelet chafes.]

That intimacy, that vulnerability is the charm that bonds this team to the audience. These are your best friends and you are about to see them at their worst moment. Over and over and over again.

It’s schadenfreude for swingers. [The title of their next revue?]

One thing that was different from previous revues is the pair have started filming some of their classic sketches, and they projected two—from their previous revue You and Me Both—for tonight’s audience. This is part of a larger effort by the couple to make more of their material available online to audiences.

Still Figuring It Out, which runs until Friday, September 30, is practically sold out, so you’ll want to snatch the last few tickets soon, if you’re not already too late.

Alternatively, look for them on the web site of their company National Theatre of the World.

You will find laughs, and maybe a few insights as you too still figure it out.

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See also:

Toronto Star review of Still Figuring It Out by Carly Maga

My review of You & Me Both

Contemplating Toronto street art

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I have become a massive fan of street art, lately, taking time out of my day to not only see the art that once was hidden behind my mental blinders, but also to truly appreciate the craft that goes into it.

Perhaps, my awareness is simply a component of my desire to slow my life down and spend more time in the moment. All I know is that I now spend as much time looking behind me, while walking the streets of Toronto, as I do looking in front of me (except when crossing roads).

Walking home from my favourite bacon restaurant – Rashers – the other day, I took the time to wander down a single alleyway just off Queen Street West…a SINGLE alleyway…and captured some of the art I found. Enjoy.

Brian Henson talks to me (sorta)

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It could’a happened

As many of you know, I am a massive puppetry fan and have even written comedy for puppets (nasty beggars). And one of my favourite puppet performances–only after my own SomeTV!–is Puppet Up! – Uncensored, produced by the Henson Company under the leadership of Brian Henson, son of Jim (sounds biblical, doesn’t it).

In preparation for their upcoming run in Las Vegas (July 21 – August 31 at the Venetian), Puppet Up! put out a call for people to submit questions to Brian…so you know I had to.

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Well, kudos for Brian’s bravery, as he just responded in a two-part video (unfortunately, cannot embed video from Twitter so please click on link).

Cheers to the entire group for taking the time to do this…it was fun (at least, for me).

And if you’re even thinking of heading to Vegas, be sure to check out Puppet Up! – Uncensored at the Venetian. I guarantee you will have a great evening.

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Hanging with the Puppet Up! cast and characters after the Toronto finale

See also:

Puppet Up! visits Toronto

SomeTV! spreads like herpes at Burning Man

Behold, easily the best of Fringe Toronto

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I may have to give up comedy writing. Based on the sold-out sketch comedy show I saw last night at Toronto’s Monarch Tavern—part of the annual Fringe Festival—I am a flailing hack or self-deluded pretender.

Brought to us by the disturbed mind of Justin Haigh under the umbrella of Spoon vs. Hammer, Behold, the Barfly is a delightful show that is possibly the most consistently funny sketch comedy performance I have seen in ages, and if its run is limited solely to Toronto Fringe, we all lose out.

Trying not to spoil any of the sketches, let me just say that they are all really solid…even the ones that opened weak only to demonstrate that this was done on purpose. As a comedy fan and writer, I often found myself anticipating the direction of a sketch only to be surprised by a solid twist that never felt manipulative or like a bad M. Night Shyamalan moment.

The casting was amazing, each performer bringing his or her unique absurdity to the performance, and presenting the sketches with such vitality that they almost felt improvised (in the good sense). These are performers comfortable with their material, which is critical for sketch comedy.

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Ned Petrie is the classical Everyman who just wants to be loved (Credit: Laura Dittman)

Ned Petrie is clearly the anchor for this show. He does one delicious take after another on the Everyman, a stoic witness to the world gone mad. Eric Miinch is the clown, doing his damnedest to break up his scene partners with ad libs that enhance rather than disrupt the scenes in which he finds himself.

Elizabeth Anacleto is the shape-shifter, becoming whatever her role requires with mercurial fluidity even when required to shift smoothly within a single sketch. Marsha Mason—whom I should note I know personally—is a talent who can say more with a single facial expression than with the best written dialogue.

Jeff Hanson and Steve Hobbs are mesmerizing on stage, each one bringing an intensity to their performances that cannot be ignored, especially in one particularly disturbing turn by Hobbs. Kevin MacPherson and Sarah Thorpe, meanwhile, ably glue the entire construction together, the former largely coming in from left field at every turn.

If I have one criticism of the show, it is that it completely under-utilizes the amazingly talented women in the cast, the male performers generally taking the most significant roles.

As a male comedy writer, I completely understand the challenge of consciously writing female roles without looking like you’re writing female roles. It is not sufficient to simply lop the penis off a male character.

If Haigh and his team are given the opportunity to remount this show—dear comedy gods, let this be so—I would hope he takes time to tap more deeply the talents of these wonderful women.

In the meantime, if I want to keep writing comedy—because it’s all about me—I am seriously going to have to up my game.

Behold, the Barfly Cast

Seamless casting: (L to R) Hobbs, Thorpe, MacPherson, Miinch, Petrie, Mason, Anacleto, Hanson (Credit: Laura Dittman)

Behold, the Barfly continues at Monarch Tavern until July 10. After that, we can only hope.

SomeTV! spreads like herpes at Burning Man

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Nicholas Lemon (left) and Kevin Scott completely ignore the script…again.

After a successful run in the City of Toronto – success measured by lack of lawsuits – SomeTV! is spreading its infectious laughter into the suburbs…specifically Peel and York regions of the GTA.

Don’t know what SomeTV! is?

Imagine a short-armed tennis ball fluffer boxing with your uvula via your rectum. Got it? Well, SomeTV! is nothing like that (but now you have plans for the weekend).

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Uvula boxing champion Kevin Scott (with Nicholas Lemon)

 

SomeTV! is what happens when fans of The Muppet Show and Monty Python’s Flying Circus don’t listen to reason, and go all Andy Hardy with puppets and Canadian actors.

Or perhaps our God-head Nicholas Lemon explains it better in this clip from a Toronto talk show:

In any event, once we scab over and the blemishes stop itching, we are hoping to take this phenomenon worldwide – pending a CDC and WHO investigation. Wish us luck…and ointment.

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See also:

Writing for puppets

Lemon Productions Inc.

 

SomeTV! is alive!

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SomeTV! poster

As some of my ever-patient followers of long ago may remember, there was a time that I co-wrote a sketch comedy show called SomeTV!, that we essentially described as the love-child of Monty Python’s Flying Circus and The Muppet Show.

Like any good creative project, this was a labour of love and mass insecurity…and took for-freakin’-ever to see the light of day. Well, seems that day is next Friday (March 11) at 10 pm (ET).

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In its inaugural run, SomeTV! will air as a one-hour special on Rogers Television in Toronto (think Wayne’s World), but it should be available shortly thereafter online. So happy to see this project and all the hard work that went into it (not just mine) finally come to life.

Still waiting for my producer, director and Godhead Nicholas Lemon to post the teaser trailer…will update this post when he does!

See also:

Writing for puppets

SomeTV Pulse

NeoHuman podcast, starring me

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My friend Agah Bahari is interested in everything, which is one of the things that I love about him.

Not that long ago, he decided to indulge his interests by starting something he calls the NeoHuman podcast (which matches nicely with his NeoHuman blog), inviting many of the interesting people he knows to discuss pretty much anything that comes up.

Well, seems he ran out of interesting people and so he invited me to participate…and we talked about anything: biotechnology, pharma, global healthcare, designer babies, creativity, writing, screenwriting, 9/11, marketing, and the novel he and I are writing about his life.

But my favourite part is the question he asks all his guest, which is roughly:

If you met an intelligent alien life-form, what would you describe as the greatest human accomplishment and as the worst human accomplishment?

Never boring, my friend Agah.

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(Photo stolen with love from Kelly Brienz Showker)