Though it has some clever moments, “And So It Goes” is neither wickedly nasty enough nor sweet and romantic enough to leave any sort of lasting impression.
“Sex Tape” has its moments of genuine hilarity, but for the most part it aims low and goes for easy laughs that it hopes will appeal to its target fortysomething audience.
“Tammy”, the latest big screen comedy from “Mike & Molly” star Melissa McCarthy, is as a film as big a sloppy mess as its main character. It’s a surprisingly unamusing and uninteresting film, especially considering the talent that McCarthy and writer/director Ben Falcone have to work with, and perhaps the best thing that can be said about it is that a scant 96 minutes, it’s mercifully short.
Subversively clever and funny from start to finish, “22 Jump Street” could be the funniest sequel to a hit comedy feature film as any that’s ever been made. By embracing, celebrating, and parodying its concept as a “more-of-the-same” follow-up, the new film exceeds its predecessor in every measurable way, and sets a new standard by which future buddy-cop action comedies should be measured.
Dave Chappelle made his first late-night appearance in more than six years Tuesday, and one of the first questions he was asked was why he quit his cult sketch comedy show “Chappelle’s Show.”
“A Million Ways to Die in the West”, Seth MacFarlane’s eagerly-anticipated follow-up to his 2012 hit Ted, should really have been titled “A Million Ways to Gross Out Audiences in a Western.”
There’s so much to like about Chef, Jon Favreau’s return to small-scale film making after several years of working on big budget extravaganzas such as Iron Man and Cowboys and Aliens, that it’s hard to know where to start. But at its heart, Chef is a simple, intimate story of rebirth and reconnection between a father and his family, his creativity, and his own sense of self. Like a truly great gourmet dish prepared with heart and imagination, it’s many, many flavors blending together into something remarkable and worth experiencing.
“Neighbors” definitely earns its R rating, and it’s got lots of big laughs. But it also feels like it should’ve been a longer movie, and the cuts made for time take their toll on the film’s story as a whole.
The Other Woman is that rare film that will leave discerning audiences wondering if the filmmakers consciously set out to utilize every previously-used and abused cliché in the genre they could think of in order to crank out a film that was 100% unoriginal and predictable from start to finish.
While traveling the world exploring the science of what makes things funny, we stumbled on an important question: What makes a good comedy club? According to many of the comics we interviewed, a “good room” is one that’s dimly lit, densely packed, with hard chairs, low ceilings, a red curtain, and nothing at all that’s blue.