Not much has made me laugh this year. There’s been an onslaught of R rated comedies and nothing has hit the spot quite like “Tucker and Dale vs. Evil.” Eli Craig’s horror comedy is a film that works more so as a comedy film and it had me laughing non-stop for ninety minutes with a premise so clever it’s shocking that this is the first time we’ve seen it accomplished before. The premise is tricky, but Craig handles the material with enough finesse and creativity to where nothing feels forced or drawn out to fill time. The film is a merciful ninety minutes and that’s all it needs to tell its story. You’d think with a movie featuring such morbid dark humor that Craig’s creative work would be mean spirited, but surprisingly, he opts for unbelievable dark humor that works in ways that will leave audiences slapping their knees with laughter.
Tag Archives: Romance
Based on Billions of True Stories: The Long, Slow Death of a Twenty-Something
We’ve known Larry Longstreth for a long time as a person and as a filmmaker. It’s no big surprise that we here at Cinema Crazed are big fans of Longstreth and his work in the fan film and internet arena. Longstreth is one of the finest filmmakers working in independent film today and our friendship with him is no bearing on the man as a filmmaker. We discovered Longstreth years ago when he sent us his screener for a short film about a zombie musical and we were instantly hooked on whatever he sent our way.
Zookeeper (2011)
It seems like ever since the death of Chris Farley there almost has to be a slot open for a funny fat man who bumbles and stumbles. Except Farley wasn’t just a fat man, he was much more than obesity. He had actual comic timing and every person since his death to take up the mantle has sine failed to replace him. Take one Kevin James, a man who fails at even holding Farley’s shoes but has sought out to be the current funny fat guy since his introduction in “Everybody Loves Raymond.” And since then he’s failed to hold a candle to the cliché fat guy comedy mold that has garnered him massive success because he is just so utterly one note and uncharismatic.
Bad Teacher (2011)
Assholes are just a part of life. They’re there when we wake up and they’re there when we go to sleep, the only consolation we can take in this revelation is that they’ll likely never learn their lessons and will continue being assholes until the day they die. That’s the moral behind “Bad Teacher,” a veritable “Bad Santa” clone that takes a misanthropic bombshell and plants her in the middle of All American suburbia where she’s forced to interact with kids and positive role models on a daily basis when she seeks only to gratify her own base needs and nothing more.
Bridesmaids (2011)
It’s quite rare that in today’s movie market you’ll find a film that appeals to the male and female demographic so vehemently, but “Bridesmaids” manages to accomplish being a film for the men and the women simultaneously. And it took an SNL alum to conquer such an impossible feat. Possibly the funniest movie all year, “Bridesmaids” is that coming of age romance dramedy that never takes itself seriously, but knows when its time to act like an adult. And that’s due to Kristen Wiig’s ability to play the most unlikely movie heroine you can imagine.
Shrunken Heads (1994)
I remember seeing the preview for “Shrunken Heads” back in 1994 during the end of a double feature from the video store and even then I thought the idea was a weird one. A kids movie about disembodied shrunken heads getting revenge on their murderer is unusual. “Shrunken Heads” is a strange god awful movie, but one that affords itself some nostalgic value so while it is a waste of talent and resources, it’s not totally a waste of time. Whether it’s Danny Elfman’s involvement as the sound track artist, or Meg Foster curiously cross dressed as an Italian mobster with a pomp haircut, every single move to this movie is confusing and often times disorienting.
Take Me Home Tonight (2011)
“Take Me Home Tonight” operates on the basis that we still give a squat about the eighties and thanks to the financial failure that was this film in early 2011, it’s great to hear America isn’t budging in their resounding boredom with the decade. This was only further remedied by “MacGruber” and its eighties crapola that touted the same sentiment “Take Me Home Tonight” does. Director Michael Dowse’s film doesn’t so much want to be a coming of age film from the eighties so much as it wants to be an eighties film. It takes every chance to define itself as the decade love letter that it almost convinces itself that it’s a movie ripped from that decade.