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Wrong Again (1929)

Few film scholars elevated the 1929 short “Wrong Again” to classic status, but I’m willing to go out on a limb to suggest it deserves such an honorific classification. It was among the last wave of Laurel and Hardy’s silent output and had three future Oscar winners behind the camera – director Leo McCarey, cinematographer George Stevens, and screenwriter Lewis R. Foster – plus one of the most wonderfully original sight gags of all time.
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Roast-Beef and Movies (1934)

This dinky little two-reeler would have been lost to obscurity had it not been for the unlikely presence of Curly Howard in his only outing without fellow Stooges Moe Howard and Larry Fine. Curly and his comrades were working with Ted Healy at Metro-Goldwyn-Mayer in the early 1930s and the studio occasionally split them up for separate appearances, with Curly being dumped in “Roast-Beef and Movies” in a new comedy act featuring George Givot and Bobby Callahan.

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The Bootleg Files: My Annie Hall

BOOTLEG FILES 910: “My Annie Hall” (2018 short film based on Woody Allen’s classic).

LAST SEEN: On YouTube.

AMERICAN HOME VIDEO: None.

REASON FOR BOOTLEG STATUS: Unauthorized mini-remake of the Oscar-winning film.

CHANCES OF SEEING A COMMERCIAL DVD RELEASE: Nope.

When the subject of fan films is raised, most people associate that genre with younger people creating souped-up spins of classic action and adventure films. In 2018, a most unusual fan film made headlines, but this did not involve a hyperactive riff on the “Star Wars” or “Batman” series, but instead it was inspired by Woody Allen’s “Annie Hall” – and even more remarkable, the film’s stars were a pair of senior citizens.
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Every Bugs Bunny Ever: Bully for Bugs (1953)

Bully for Bugs (1953)
Directed by Charles M. Jones
Story by Michael Maltese
Animation by Ben Washam, Lloyd Vaughan, Ken Harris
Music by Carl Stalling

According to Chuck Jones, “Bully for Bugs” came about because of an unexpected declaration made by producer Edward Selzer didn’t want any films related to bullfighting because he felt that bullfights aren’t funny. If Selzer was commenting on comedy films with a bullfighting theme, he was most correct – those films relied heavily on stock footage, trick editing, the obvious use of stunt doubles and connect-the-dots comedy with the funnymen supposedly being chased around a bullring.
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