Showing posts with label Sarah Silverman. Show all posts
Showing posts with label Sarah Silverman. Show all posts

Friday, June 3, 2016

Popstar: Never Stop Never Stopping



**Spoiler Alert**

Directors: Akiva Schaffer and Jorma Taccone/ Starring: Andy Samberg, Akiva Schaffer, Jorma Taccone, Sarah Silverman, Tim Meadows, Maya Rudolph, Chris Redd, Joan Cusack and Imogen Poots

Former SNL cast member Andy Samberg and writers Akiva Schaffer and Jorma Taccone have joined forces for the pop-rock-mockumentary Popstar: Never Stop Never Stopping. It's been awhile since anyone has tried their hand at this genre, which is surprising, given that pop-music personalities are always ripe for satirical plunder. Comparisons to Spinal Tap are inevitable but the movie reminded me more of Rusty Cundieff's Fear of a Black Hat; another mockumentary that chronicled the rise and fall and rise of a rap group. Schaffer and Taccone's film bears a close resemblance to that story but is distinctive enough to claim its own identity. Having seen the trailer, I expected the material to be uneven, which it was, though it leans more toward being unfunny. In spite of itself, the movie is able to be kind of fun without actually being funny most of the time.

The documentary gives us some background on the former members of the boy band The Style Boyz, who are kind of a Boyz to Men/Beastie Boys amalgam. Its three members; Conner (Andy Samberg), Owen (Jorma Taccone) and Lawrence (Akiva Schaffer) have been friends since childhood. We learn that Connor's musical origins can be traced to his infancy, where we see his baby self adroitly working a drum kit (though comically improbable). Conner, Owen and Lawrence's childhood friendship leads to the formation of The Style Boyz and a clip of the group shows them performing later, in a small club, where their profanity-laden rap lyrics raise the eyebrows of a staid audience. Though the group achieves widespread acclaim and fame, internal dissension leads to a break-up. Conner forges ahead on his own as Conner 4Real, a semi-solo act that reduces Owen to the role of DJ while Lawrence leaves the group to become a farmer in Colorado. Serving as the group's manager is Harry (Tim Meadows); whose own attempt at musical stardom was a short-lived stint in a band whose name becomes a gag in its own right. Also in Conner's employ is his PR person Paula (Sarah Silverman). Though Conner4Real is ostensibly a two-man group, Owen finds himself playing a secondary role while Connor receives a heavily disproportionate share of the fame and glory.

The mockumentary has its share of famous talking heads from the world of music, who comment on both The Style Boyz and Connor4Real's successes and influence. Among the real life musicians who share stories and views with straight faces are Questlove, 50 Cent, Nas, Mariah Carey, Carrie Underwood and even Ringo Starr.

We get a taste of Conner4Real's material when we see footage of him perform Finest Girl (Bin Laden Song); a song about a randy woman who asks Conner to do to her what the United States military did to Osama Bin Laden. Another unintentionally amusing song comes from a video called Equal Rights, which is supposed to be Conner's progressive statement about gay marriage but as the song (and the video) progresses, the singer's homophobic declarations of heterosexuality become humorously evident.
The mock-doc really begins a few days before the release of Conner4Real's CONNquest; a hugely anticipated album in the music industry. It is funny to see the absurdly long list of producers on the album; evidence of obscene artistic overkill.

But upon release, Conner finds the album has not been well-received. In a Spinal Tap moment, he looks on the internet to read the reviews. After one bad review, he reads Rolling Stone magazine, hoping for an alternate critical reaction. It is very funny to see the magazine's negative review, which includes a sh*t emoji. In searching for a positive response, he manages to find one but isn't hip to The Onion's comic irony.

Undeterred by horrific album sales, Conner moves ahead with his tour. Hoping to find a corporate sponsor to defray the cost of the tour, an appliance manufacturer offers its support. Appliances that play an artists' music might be considered gauche to most musicians but Conner nonetheless accepts their offer.

As the tour commences, Conner and Harry find the venues are far from being sold out. Harry suggests they take on an opening act to draw a larger crowd; an idea the singer hardly finds thrilling. With little choice, they select an up and coming rapper by the name Hunter the Hungry. Hunter and Conner hit it off, but the rapper becomes his bane when his touring antics become too much for everyone to bear.

Comic mishaps and malfunctions plague the tour. A prank involving a wardrobe change onstage, a la Katy Perry, goes awry, leaving Conner publicly humiliated. It comes to light shortly thereafter that Hunter was behind the prank, which prompts Conner to kick him off the tour.

The story becomes a tale of misfortunes as Conner's career takes a hit. Horrifically absurd bad luck seems to follow him everywhere. An elaborate attempt at "resetting the media" becomes a near tragedy when Conner's proposal to his girlfriend Ashley (Imogen Poots) goes terribly wrong. Knowing Ashley's fondness for wolves, he has several on-hand when he proposes to her, while the R&B singer Seal performs on a stage nearby. Unfortunately the wolves break free to terrorize the gathering and ultimately Seal, who is viciously mauled. The scene is funny and surreally zany.

As the film moves along and Conner's misfortunes mount, Owen tries to bring Conner and Lawrence together to mend a frayed friendship. We learn Lawrence's departure from the group was less than amicable, as Conner wrongly claimed songwriting credit for The Style Boyz's catalogue. The story's friendship theme comes to the forefront as the three friends slowly rediscover their past relationship. Mending broken fences, the three friends reunite for a pop awards show, which serves as a kind of happy coda to the "documentary."

As always the case with a mock-dock, one hopes the comic hits will outnumber the misses. With Popstar, the unfunny moments overpower the story. But the movie isn't without its inspired moments. One of my favorite scenes takes place during the three friend's reunion inside a limo. While Lawrence and Conner air out their animosities, a woman presses her naked breasts to the window. Unaware that a man's penis has replaced the breasts behind the window, Conner points to what he thinks are breasts while trying to make a point.

Samberg is an ideal Conner. It seems he's played this character in some incarnation or another, on Saturday Night Live. He is quite funny but as a writer, he has comedic lapses. Tim Meadows stands out as the double-dealing manager but Justin Timberlake is unfunny as Conner's personal chef.

The periods between laughs began to stretch until they became all-encompassing. But the experience was far from dismal. I can see Samberg and Company coming up with something terrific, given more opportunities in future projects but Popstar is a mostly a miss. Maybe next time.

Sunday, June 1, 2014

A Million Ways to Die in the West



**Spoiler Alert**

Director: Seth MacFarlane, Charlize Theron, Liam Neeson, Amanda Seyfried, Giovanni Ribisi, Sarah Silverman, Neil Patrick Harris, and Wes Studi

One wouldn't see Seth MacFarlane's A Million Ways to Die in the West for the sweeping vistas or characters with contradictions and dark, ulterior motives usually found in John Ford westerns. But if you happened to be looking for a film that lampoons westerns with crudely-served scatalogical humor, or skewers the prevailing myths of the old west in the same manner, then A Million Ways to Die in the West is what you're looking for.

From an original script by MacFarlane, Alec Sulkin and Wellesley Wild, A Million Ways to Die in the West tells a revisionist, deconstructive story of the west that is gleefully anachronistic. One knows what one is in for with Seth MacFarlane, particularly from the theatrical trailer, so no illusions about sophisticated humor, please.

Set in Arizona in the 1880s', Seth MacFarlane plays a cowardly sheep-farmer named Albert who detests everything about living in the frontier and says so in a soliloquy itemizing the kind of things that can kill you in the west in a way that is more perspective-from-the-future. It is a running gag in the film that Albert is a terrible sheep-farmer, as his herd is usually scattered all about, including the roof of his home.

Albert is in love with his sweetheart Louise (Amanda Seyfried) but the relationship sours when she grows tired of his character flaws and his inability to be a competent sheep-farmer. She falls in love with the town dandy, Foy (Neil Patrick Harris) who owns a shop that serves men with mustaches. Albert's lack of facial hair is a subtle jab at his lack of masculinity, which Foy exploits one day when Albert wanders in the mustache shop. MacFarlane always cuts a strange figure in movies with his bizarre, blemishless, alabaster complexion but it serves him well here; his smooth skin a comic reminder that a hairless face is something to be avoided in the frontier west

Unable to win Louise back, Albert is helped by a tough, tall, beautiful blonde named Anna who enters the town to rescue her brother from the jailhouse. Anna is married to the most ruthless, intimidating gunfighter named Clinch (Liam Neeson) who discovers his wife has kissed Albert, which leads to a High Noon-like confrontation later in the story. In the meantime, Anna helps Albert to overcome his love for Louise.

The story is secondary, most of the time, to the sight gags and jokes about the old west and the culture. One of them-and an amusing one-is the talk about having one's picture taken and how noone is supposed to smile. Albert shares a story about how he heard someone in Texas actually smiled during a photo, which seems outlandish and unbelievable to Anna and Albert. Another involves Albert's best friend Edward (Giovanni Ribisi), a morally upstanding young man who refuses to bed his fiancee Ruth (Sarah Silverman) before their wedding though she is a town prostitute who is visited at least ten times a day by clients--a fact known to everyone and Edward alike. It is quite funny to listen to Edward and Ruth talk wholesomely about saving themselves for marriage then hear her called gruffly by a saloon patron upstairs for sex, to which she promptly and dutifully complies; leaving Edward sitting pathetically at the table. The jokes are hit and miss and for the latter half of the movie, the story's almost serious narrative kills the momentum of the comedy as if MacFarlane forgot the movie is supposed to be a raunchy farce.

A Million Ways to Die in the West has its inspired moments but they seem too scarce. I'm not averse to humor dealing with bodily functions but films like MacFarlane's seem to use it as a crutch; betraying the famine of ideas that must have beset the screenwriting. A scene involving a duel between Foy and Albert, which ends up with the former defecating in the street seems borrowed by scores of gross-out comedies, including the recent Bridesmaids.

The cast rides along with the raunch and silliness. Sarah Silverman is quite amusing, as is Wes Studi's Cochise and Neil Patrick Harris with his foppish, annoying, handlebar mustache.

The film does have its John Ford, sweeping vistas of the desert southwest, which are breathtaking and unusual for a farce like MacFarlane's.

It made me chuckle at times but not enough. The film is one more missed opportunity but I've seen worse, which isn't exactly olympian praise but hardly a categorical dismissal. I'd like to see him try again, but next time remember to be more generous doling out the gags.