We got into a discussion this week at my job about the state of American film comedy. Some of my co-workers were insisting that I see the new Will Ferrell movie, The Campaign, and, honestly, I don't think I've got the gumption to sit through it. Per their requests, I had seen Seth MacFarlane's randy, plush toy comedy, Ted, a few weeks prior, and while I didn't find Ted to be an awful movie by any stretch, I have to admit that I didn't find much of it very funny at all.
So, we were talking about American film comedy, and I started to ruminate on this question: What was the last great American comedy? Was it Bridesmaids? That was almost a year and a half ago. Was it The Hangover? That was nearly two and a half years ago.
Here's a list of comedies that have been released this year: 21 Jump Street, That's My Boy, Ted, The Campaign, Men in Black 3, American Reunion, Wanderlust, The Three Stooges, Mirror Mirror, The Dictator, Project X, This Means War, The Five-Year Engagement, What to Expect When You're Expecting, Dark Shadows, The Watch, Think Like a Man. That's just a sad, little list.
So, what's gone wrong? Why are American film comedies so mediocre?
*Please note that this article is an opinion-editorial.
Both Marvel and DC have their main shared universe in which the majority of their characters reside, but they also have separate worlds in which other versions of their characters exist. The most widely talked about alternative world is that of the Marvel Ultimate universe, in which characters have been introduced in a drastically different manner from their original incarnations. But, what is it that really appeals about the Ultimate universe that makes people (such as myself and my co-conspirator, Kristine Chester) read it moreso than the main universe? Well, it’s because there is a dramatic difference between the Ultimate line and the "normal" line; the Ultimate line doesn’t have decades upon decades of comics that have forced the direction of its storytelling.
Well, this is going to be polarizing.
You know how people are always complaining about how Hollywood is creatively bankrupt and too reliant on remakes? I’m curious to see how those people will react to Cloud Atlas, the most wildly ambitious, big-budget movie since Fight Club.
I liked it a lot, but I could easily see how many people will find it off-putting.
Calling all geeks! Calling all geeks! Fanboy Comics has another extremely worthy Kickstarter campaign that needs your help to reach its goal!
The Odds is a post-apocalyptic action-comedy novel and is described by its author as an “. . . extended ode to John Carpenter's Big Trouble in Little China and its redoubtable goofball hero, Jack Burton.”
The Odds is written by Robert J. Peterson (CC2K), who has appeared on numerous episodes of The Fanboy Scoop - Week in Review podcast. He’s a true geek’s geek, and we can’t wait to experience his epic sci-fi action-comedy!
Books & S--t #003: Sugar Free LeFavi
*Warning: Contains strong language, alcohol consumption, and adult content.
Brought to you by Sugar Free Rockstar
Don't touch Books & S--t or you'll get burned, as Brian and Sam drink their way through another amazing episode, this time welcoming special guest Joe LeFavi, transmedia guru and Founder and Ambassador of Awesome of Quixotic Transmedia. They discuss recent food-based news stories, namely the True Blood cookbook and the decision that Chicken Soup for the Soul will actually make soup. The trio also drunkenly debates the changing face of entertainment consumption, the potential of transmedia, and the author Joe LeFavi would most like to have an affair with.
MORE EPISODE LINKS:
Post War Queen Elizabeth II (Don't Ask)
City of Thieves by David Benioff
The new publication of Image’s 2005 horror miniseries, The Milkman Murders, is now available in a hardcover edition. Inside, read Joe Casey’s disturbing depiction of modern suburban life, which Steve Parkhouse expertly brings to life with his art. This horror comic is not for everyone, but for any horror comic fan, it is a must have.
Any alternate history undergoes an almost immediate pass/fail grading as I initially look at it. In The Manhattan Projects, proudly stamped on the deceptively simple cover reads, “What if the research and development department created to produce the first atomic bomb was a front for a series of other, more unusual, programs? What if the union of a generation's brightest minds was not a signal for optimism, but foreboding? What if everything . . . went wrong?”
All comic nerds know that unique happiness of being proven wrong when you initially don’t like something, only to find yourself suddenly absorbed in it. The Manhattan Projects isn’t one of those books. No, no my friends. Instead, it is a delightfully demented stroke of self-perpetuating madness. The story flows without losing pace even in the flashback scenes, something I’ve found to be rare. The cast paints a wild scene depicting mad scientists in a perfect, undiluted form and is without a doubt what snagged me.
After reading the second issue of Michael Avon Oeming’s The Victories, I am still along for the ride. Now that the style has been roughly introduced (gritty and cynical), the book has to started to build the world. In this issue, we are introduced to most of the rest of The Victories, as well as some of the non-super criminals. There is definitely some plot advancement here, but the book is clearly focused on setting the scene.
What’s a good P.I. to do when he’s dead? Not since Grim Fandango has this important question been answered quite so effectively. In The Iron Spirit, Cal McDonald is drawn into a mystery that defies reason. Yes, that seems like the vaguest description of a noir story ever, but that’s sort of the point. At this point, roughly 75 years after the genre showed up, the things that are the most interesting are the unique spins that are put on the style. The spin here is definitely unique.
Have you ever had to re-read a sentence? Something doesn't click at first, too many bits of information are thrown at you all at once. Welcome to the world of The Creep. At first, it seemed like the most banal, convoluted thing I've read in a very long time. One page being totally juxtaposed by the next, like speed dating at a multiple personalities support group. It was very choppy and flash cut. No dissolves or smooth transitions from one idea or timeline to the next. Jumping around as it did, you may have gone though and tossed it to the wayside like it was one of the many prostitution flyers handed out on the Vegas strip. At least that's what I hear. Bottom line is that much like good film, it makes you go back and think things through. Mr. Exposition isn't going to hold your hand with this one.