I realize that with a little notoriety and a lot of money, it’s fairly easy to get a film made and distributed. But even knowing that, it’s still incredibly baffling to see the red band trailer for InAPPropriate Comedy and realize this is an actual movie that will play in theaters. Directed by Vince ‘Slap Chop’ Offer, it’s The Kentucky Fried Movie meets the Charlie Sheen celebrity roast, and it looks every bit as terrible as his earlier Underground Comedy Movie . Only with the added discomfort of seeing Lindsay Lohan sully the last shreds of her reputation for what must surely have been a miniscule paycheck. Have a look: Considering Offer’s previous law-enforcement troubles involving a prostitute , it’s no wonder he was able to get a bunch of actors to whore themselves, but even so, it’s embarrassing to see Master of Style Adrien Brody debasing his career shilling razors to appear in this dreck. (Insert ShamWow or Schticky joke here.) The worst thing about this isn’t the constant barrage of racist and sexist ‘jokes’ or hackneyed references, it’s how friggin’ tame this thing looks. Titling this movie ‘InAPPropriate Comedy’ is kind of like how authoritarian dictatorships always insist that their countries be called ‘People’s Democratic Republics’. The only thing Asians will be offended by is how lazy the jokes about their eyes are. The good news is that no matter how bad it is, we’ll always have the Slap Chop song. So let’s watch that and remember a time when Vince could amuse us on an 11 th grade level, instead of a 3 rd grade level. Ross Lincoln is a LA-based freelance writer from Oklahoma with an unhealthy obsession with comics, movies, video games, ancient history, Gore Vidal, and wine. Follow Ross Lincoln on Twitter. Follow Movieline on Twitter.
Olivia Wilde, 28, who#39;s in town to shoot The Third Person with Liam Neeson and Adrien Brody, recently said she fell “blissfully, hopelessly, wildly in love” with Sudeikis, 37, following her divorce from Tao Ruspoli. In the past year, she and the Saturday Night Live funnyman have been spotted together everywhere from Austin, Texas, to New York City. That seems to be Olivia Wilde and Jason Sudeikis#39;s plan during their stay, as the couple are fitting in plenty of romance and PDA while she f
Adrien Brody posed for a pretty ridiculous looking picture of him and his girlfriend showering on a yacht in a position that would imply that homie is what I assume all actors are…a bottom. You see anyone who spends as much time as an actor does in front of the mirror, practicing lines, in order to play make-belief for a lot of fucking money, is probably someone who is either insecure as fuck, or in love with themselves, and that’s not to say that’s a homosexual personality trait, but I feel real men would be more into working construction or as business leaders or bartenders to lure in pussy… yes I am implying gay people aren’t real men, just for the sake of argument, But I guess what it comes down to is that even if he only gets off to her fucking him from behind with a massive strap on, while he assumes this position he seems all too comfortable with, he’s still getting hotter pussy than you, cuz until she’s got a dick…even if all he makes her do to him is rich person weird homo games…she’s still a hot bitch…who I don’t mind watching take her man from behind during a yacht shower….I’m perverted like that… To See the Rest of the Pics FOLLOW THIS LINK
High School has such a winning premise that you want to send everyone involved in making it back to the drawing board for a do-over — just take it from the top, folks, and this time everyone actually have a good time. Directed by John Stalberg, who wrote the film with Erik Linthorst and Stephen Susco, this debut feature follows uptight overachiever Henry Burke (Matt Bush) as, on the eve of finals, he dabbles in pot for the first time with his childhood friend-turned-burnout king Travis Breaux (Sean Marquette) — only to be told the next day that principal Leslie Gordon (an almost unrecognizable Michael Chiklis) is instating a student body-wide zero tolerance drug test. The plan the pair come up with to salvage Travis’s years of hard work and scholarship to MIT? They’re going to get the entire school high to throw off the results. This is, as far as stoner movies go, kind of ingenious, but High School rushes through the parts it should savor and then pads out its runtime with filler elsewhere — and, less forgivably, it doesn’t make getting high look like fun. The stoner comedy as a genre has few requirements other than summoning up a THC haze and being generally good-natured, but High School leaves you feeling like the sober person at a party, wincing at how everyone’s acting and wondering if that’s how you look when under the influence. This may be because that’s how Henry feels all the time — he’s a tightly wound scold who belongs to that wan breed of recent high school protagonists (see It’s Kind of a Funny Story and The Art of Getting By ) who seem on the verge of implosion thanks to some vague, self-imposed psychological distress. The hollow-eyed Henry reunites with Travis, who is leading a seemingly parentless life on a perpetual high, after nearly running into him in the parking lot and instead hitting the principal’s car and earning a detention. “You come to see how the other half lives?” sneers Travis, who’s stuck there too. It rings strange — the division between the pair isn’t due to any class difference but to a lifestyle one, and Travis hasn’t exactly been forced to smoke pot constantly. But the two feel enough nostalgia for their younger days to end up hanging out afterward, where Travis coaxes Henry in smoking his way to an unpleasant first-time high that leaves him paranoid, dazed and with a black eye from falling out of a tree house. Because this is a stoner comedy, the fact that the setup is creaky and doesn’t quite make sense shouldn’t be a problem — except that none of the ways in which the film exaggerates are all that funny. Take Chiklis’s pompous Principal Gordon, with his flop of greasy hair and secret pervert vibe. He’s in the style of an ’80s movie authority figure like Mr. Rooney in Ferris Bueller’s Day Off , one whose sole motivation is ego and spite — except that High School isn’t stylized in the same way. It’s grounded enough to realize that parents would instantly protest the gross invasion of privacy represented by mandatory drug testing, but not enough to explain why an administrator would be eager to expel the graduating class’ likely valedictorian. Its sense of rebellion is completely phony — that of a kid who, like Henry, got high one time and still talks about it. The film’s major asset, one that’s also wasted (in both senses), is Adrien Brody hamming it up as twitchy drug dealer Psycho Ed, a tattooed law school grad (he has “BOOK WORM” across his knuckles) who lost it after smoking a laced joint and has chosen instead to apply his smarts to growing high-octane weed. Sporting cornrows, his bug eyes rolling, Brody should be funny, though Ed’s a better idea than he is in practice — you’re aggressively aware that he’s just an actor showing off the way he’s playing against type rather than a character who’s amusing in his own right. There are other side figures who don’t click: Sebastian (Adhir Kalyan), Henry’s mustache-twirlingly evil rival for the top academic slot; stoner spelling bee champ Charlyne Phuc (Julia Ling), whose last name gets used for a lame joke; well-meaning assistant principal Brandon Ellis (Colin Hanks); a loopy former Deadhead teacher (Yeardley Smith). The movie’s big event — the spiking of bake sale brownies with THC crystals — takes place early on rather than toward the end, so it doesn’t result in the kind of delirious chaotic payoff you’d expect or want from the film. Students and teachers look dazed, lose focus and say some inexplicable things, and by the time the goofiness comes along, it’s too late. It is, horror of horrors, a portrayal of a mildly realistic high, which in the context of what should be an over-the-top film is really the last thing you want. What’s the use of a stoner film if it can’t convince you that there’s at least some fun to be had in the warm embrace of cannabis? Follow Alison Willmore on Twitter . Follow Movieline on Twitter .
Who does the most accomplished canine performer in Hollywood have to lick to get some hardware around here? “He’s the toast of this year’s award season, now Uggie, the Jack Russell star of this year’s Academy Award-winning silent film The Artist , will walk the red carpet and serve as a presenter at the only major award show where animals take center stage – The Humane Society of the United States’ 26th Genesis Awards. ‘The Genesis Awards are about honoring the animal protection message, not the performance, but if we had an award for a dog who’s become a poster animal for people not giving up on their unruly companion animals, we’d give it to Uggie… now, there’s a thought!’, says Beverly Kaskey, senior director and executive producer of the annual Genesis Awards.” [ Genesis Awards ]
Detachment , the first feature from American History X director Tony Kaye to see theaters since his stunning 2006 documentary Lake of Fire , is a film about a high school substitute teacher that often comes across like the creation of a precocious student. I don’t mean that to be a damning critique, though Detachment is a mesmerizing misfire — it’s just that it has the uncomplicated earnestness and hyperbolic melodrama of teenage poetry. It’s a film that starts with a quote from Camus (“and never have I felt so deeply at one and the same time so detached from myself and so present in the world”) and has a main character named Henry Barthes, played by Adrien Brody at his most puppy-dog-eyed, who in his off hours befriends and chastely takes in a pixie of an underaged prostitute named Erica (Sami Gayle). Henry’s just started at a new school in which all of the attendees are troubled, indifferent or violent, and the embattled staff struggles to remain engaged and not give in to despair as they wage what feels like a hopeless war on behalf of a student body that simply doesn’t care. Detachment was written by Carl Lund, a former public school teacher, and compresses a lot of thoughts about “kids these days” into a concentrated dose that’s too over-the-top to be realistic but that muddles any signifiers of how heightened it’s meant to be. The individual students who emerge from the crowd represent composites of ideas, not characters — the arty chubby girl, the hyper-aggressive African-American boy, the blame-assigning mother, the chick dressed like a stripper, the budding sociopath. The instructors and administration get more personality: Ms. Madison (Christina Hendricks) is a young teacher who has still managed to hold on to some of her idealism despite a pupil’s spitting in her face in her first scene, while Mr. Charles Seaboldt (James Caan) is entertainingly jaded about everything (he asks a skimpily dressed girl if he can see her nipples, not as a request but as a confirmation of fact). Mr. Wiatt (Tim Blake Nelson) stands in the yard clutching a chain link fence while on break, convinced that he’s just as invisible at school as he is when he goes home to a wife and child who can’t be bothered to look up from their TV and computer screens. Lucy Liu is the counselor who weeps that she’s “a total burnout,” and Principal Carol Dearden (Marcia Gay Harden) is getting ousted at the end of the school year for not playing along with the politics of No Child Left Behind and private contractors. Above all this turmoil stands Henry, our martyr of the substitutes, who visits his senile grandfather, weeps while riding the bus and is haunted by the memory of his unstable, dead mother. Henry believes he’s chosen a noncommittal life free of attachments, but of course he’s anything but indifferent, as seen in his caring for Erica, in the attention he offers to the talented, unhappy Meredith (Betty Kaye, the director’s daughter), in his devotion to his only ailing relative despite what the man may have done when younger, and in the fact that he’s actually a devoted teacher. Henry’s intended numbness is brought to light in a monologue delivered to camera that the film sporadically cuts to, as the tastefully disheveled Brody sighs that “Most of the teachers here, they believed at one point they could make a difference.” The film’s amplified qualities could be looked at as an expression of Henry’s inner state of being, except that plenty of scenes take place without him around, as when Carol returns home to the husband (Bryan Cranston) she can no longer connect with or Meredith is told by her father to lose weight and “paint something cheerful.” Detachment is overwhelming and didactic, intolerably so in some moments, as when a suicide is telegraphed from far away, or a segment in which no one comes to Parents’ Night and two of the long-term teachers meet by chance in an empty classroom, reminiscing about the good old days. But there’s no ignoring the power or rawness of its emotions, which seem to warp the feverish visual style. They’re sincerely meant and clarion clear even when the film gives off a whiff of overdetermined bullshit, like its angel-faced child streetwalker or its glimpse of an oppressively fancy living room with curtains the same pattern as the wallpaper. There’s no subtext to the film: It bluntly lays its agenda in the open, and its characters are mouthpieces for a uniformly bleak vision of the public education system that’s actually summed up with a final image of the school, empty and decrepit, papers blowing everywhere. The final product has a touch of Taxi Driver to it, without the distance of knowing that this protagonist is in the midst of a breakdown — Detachment appears to fully buy into Henry’s self-crucifixion and his vision of an abandoned, uncaring generation of kids speeding down their separately chosen roads to nowhere. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .
Adrien Brody and Sami Gayle are interviewed by Hollywood.TV on their upcoming feature film “Detachment.” The stars spoke with us for an exclusive interview about their roles and the current US school system! “Like” us on Facebook @ facebook.com
Maksim Chmerkovskiy and Steve “Stevie” Johnson were spotted at The Sayers Club in Hollywood. Maksim stayed quiet while Steve spoke to us about the current NFL drama involving bounty on players! “Like” us on Facebook @ facebook.com
My favorite rapper/actor is back Andre 3000 is back not with new music, so we’ll have to settle for his new Gillette commercial. In the new ad campaign for the shaving company, Andre 3000 plays one of the three ‘masters of style.’ Joined by actors Adrien Brody and Gael García Bernal, the three promote some of Gillette’s shaving products. Take a look at Andre 3k getting a check doing some product promo below:
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