MasterChugs Theater: ‘The 40 Year-Old Virgin’
Posted on August 29, 2008
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The 40 Year-Old Virgin is, first and foremost, a coming out party for Steve Carell. The one-time Daily Show correspondent has made a name for himself by stealing the show in such movies as Bruce Almighty and Anchorman. It was only a matter of time before he was asked to carry one on his own, and The 40 Year-Old Virgin proves he has the chops to pull it off. With the yeoman aid of director Judd Apatow, he develops his faux-newsman routine into a much different comic persona that may launch him into the big leagues.
Written by Chris "Chugs" TaylorMasterChugs Theater: ‘Knocked Up’
Posted on August 22, 2008
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For the time being, we’re going to take a look at the works of Apatow. The reason being? Pineapple Express has recently come out. It’s pretty good. You should go see it; however, we’ll get to it in good time. In the meantime, we’re going to examine the works of Judd Apatow in order to see how he has progressed as a director, writer and producer, though not necessarily in exact order. The first movie up? 2006’s Knocked Up.
Judd Apatow gets guys. For years men in movies have been cookie cutter presentations of ferocious might or sensitive driveling. In his movies, Apatow brings a different breed of man: one who falls between the stereotypes of the sensitive man and the ubermensch and paints a complete picture of just how complex men can be.
Nowhere is this more true than in Apatow’s Knocked Up. The 40-Year Old Virgin director tackles the worst nightmare for the single man–having a one night stand with a girl and then finding out that you’ve knocked her up. It’s a simple enough concept for a story, but thanks to Apatow’s delightfully complex characters and hilariously irreverent approach to the subject matter, Knocked Up runs the chance of being one of the most brilliant comedies of the decade. Click the button to see why. Read more
Written by Chris "Chugs" TaylorMasterChugs Theater: ‘The Cocoanuts’
Posted on August 15, 2008
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Before I even start this review, let me first give a humongous thanks to Bryan Schools and Rick Snee for pinch-hitting for me these past two weeks. If you’ve not read Bryan’s review of The Dark Knight or Rick’s essay on Casablanca, then you are seriously missing out on some fine reading. It’s been absolutely crazy for me in recent times, and their astounding work hits the spot. Thanks a lot, you two.
With that said, it’s of no surprise that I enjoy the works of the Marx Brothers. I mean, if you actually sat down and watched one of their movies, I have a good feeling that you’d be of the same opinion. Let’s be honest-how can you not? There’s zany antics, wacky hi-jinx, musical numbers that don’t actually suck, sight gags aplenty and even philosophy.
Wait, what? Philosophy? In a black and white comedy stemming from the roaring twenties?
True believer, you heard right. Many movies tackle important philosophical questions, such as “What is the meaning of existence?”, “What is the true nature of religion?” and “How should people relate to each other?” However, only The Cocoanuts tackles the most complicated question of them all–”Why a duck?”
Step inside for more. Read more
Written by Chris "Chugs" TaylorMasterSnee Theater: Why ‘Casablanca?’
Posted on August 8, 2008
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Chugs is busy moving into his new swingin’ pad, so Rick is filling in for this week’s “MasterChugs Theater.”
What is it with movie reviewers and Casablanca? Anytime they review a movie that concerns war, love, smoking, corrupt police or film, this move gets brought up. In fact, I’d wager Chug’s left testicle that Casablanca is brought up more often than The Godfather and Citizen Kane in regards to American classics.
So, while Chugs gets cleaned up for extraction, I’m going to explore that 60-year-old question: of all the movies in all the genres in all the world, why did she pick Casablanca? Read more
Written by Rick SneeMasterSchools Theater: ‘The Dark Knight’
Posted on August 1, 2008
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NOTE: Chugs is too cool for school this week, so Schools is filling in.
Yeah, we get it.
You’re cool, hip, deep and brooding. You’ve gone to see the new Batman flick for all the right reasons. You read the comics, still revere Michael Keaton as the best, and in noooooooooooo way let Heath Ledger’s death influence you on your own personal opinion of the film.
Bravo. Now on to the real results. Read more
Written by Bryan SchoolsMasterChugs Theater: ‘Cleopatra Jones’
Posted on July 25, 2008
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We close out both July and our look at blaxploitation with one more epic film in the genre. Starring the late Tamara Dobson in the lead role, Cleopatra Jones was the first film to mark the beginning of a sub-genre of blaxploitation films that focused on strong female leads who took an active role in shootouts and fights. That’s right, blaxploitation wasn’t just all about those super cool men. No, there were plenty of hot ladies that control of the screen. Once again, though, we ask the question-is it any good? Hit the jump to find out. Watch out though, cuz “Cleopatra’s coming at ya!” Read more
Written by Chris "Chugs" TaylorMasterChugs Theater: ‘Shaft’
Posted on July 18, 2008
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As July continues on, we too continue to explore blaxploitation films as our theme. Blaxploitation is an interesting thing. To me, it’s one of the only two film genres that most embodies the American spirit. That is not hyperbole-I truly and honestly believe so. Blaxploitation is a concept that arose from a period of both social and civil unrest and change into product with its own unique culture and identity. In doing so, it created a precedent for all future items similar to itself in idea. Sound anything like the origin of a country that you or I may know?
Shaft (the original 1971 version, not that Samuel L. Jackson remake dreck) is, was, and will forever remain the definitive blaxploitation film, utterly and without question. Not only that, but it’s also considered by many to be the very first blaxploitation movie. Shaft and other blaxploitation films represented black action heroes fighting white crime in a cynical urban environment. The films symbolized black-power politics in an era when portrayals of blacks regularly consisted of servants and sidekicks. Shaft broke the mold, laying the groundwork for modern actors and filmmakers like Samuel L. Jackson and Spike Lee. But is it any good? Not everything ages well, after all. Pop on in and find out.
Written by Chris "Chugs" TaylorMasterChugs Theater: ‘Dolemite’
Posted on July 11, 2008
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Blaxploitation is not only the theme of this month, but a culture. They were the first movies to use funk and soul music in their soundtracks, thus revolutionizing the way that we listen to movies. Modern cinema and cultural diversity owes a lot to blaxploitation. This month, let’s find out why, starting with Dolemite. We visit an old classic review in order to understand a bit just what blaxploitation is, other than one of my favorite genres of film.
Rudy Ray Moore might not have reinvented cinema, but he is a pioneer when it comes to comedy. Moore peppered his bits with enough four-letter words and sexual innuendo (and not so innuendo) to make Richard Pryor and Redd Foxx blink. He found great success doing comedy party albums, and he also single-handedly shaped what would become hip-hop music, by performing rap before Grand Master Flash and The Sugar Hill Gang even bought a Dr. Seuss book. Moore’s stand-up creation Dolemite, was quickly turned into a film character (and later an icon of “blaxpoitation” films), even though Dolemite more closely resembles the style of Bruce Lee films. Funded by Moore out of his own pocket (and helped by sales of his album Eat Out More Often), Dolemite’s high-flying karate heroics, little-man-versus-big-man storylines, and bad dubbing work on many different levels, although none very high-brow.
MasterChugs Theater: ‘Ichi The Killer’
Posted on June 27, 2008
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As June pulls to a close, we conclude “Asian Cinema is fricking crazy” with a movie that might embody that theme more than any movie in history. Heck, it might just embody the last two words better than any other movie in history. Coming from the utterly demented mind of Takashi Miike, “Ichi the Killer” is easily one of the most controversial films of the last decade, and with good reason. Consisting of a hyper stylized visceral barrage of over the top gore, torture and rape, which hangs loosely on a threadbare skeleton of inconsequential plotting and that boasts a madman’s sense of logic. Whilst all this is certainly true, as Ichi the Killer is incredibly grotesque and overwhelmingly sadistic, beneath the surface lurks a fierce intelligence, albeit a psychotic one, which attempts to make an intellectual point through antagonizing and unapologetically provoking its viewer rather, than any kind of given subtlety. By all means, this movie is not for any one with an aversion to violence of any amount.
Interested yet? Hit the jump for more. Read more
Written by Chris "Chugs" TaylorMasterChugs Theater: ‘Riki-Oh: The Story of Ricky’
Posted on June 20, 2008
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We continue our look at the wacky hi-jinx that is “Asian movies are fricking bonkers” with a look at a classic MCT. This is being done because you truly cannot speak about crazy Asian films without talking about one of the most infamous ones of them all. It’s inspired quite the legion of prison movies, superpowered chi movies and its fair share of weird trembling ogre movies. Oh, and it’s bloody. Oh dear lord, is this movie ever bloody. Enjoy!
In cinema history, there are some movies that make their audience treasure the life that they have, yielding smiles or tears. Some movies make us laugh. Others have been known to renew our faith in the indomitable spirit of humanity.
Riki-Oh: The Story of Ricky is the type of movie that makes the audience go “THAT WAS [CENSORED] INCREDIBLE!” and for good reason, too. If you’ve ever seen the old Daily Show where they show the loop of the head being smashed, you’ll know what to expect from this movie. For good martial arts, look elsewhere. For a good plot, look elsewhere. For some of the most outlandish gore around, step inside! Be prepared, as the movie being reviewed this week is not for the week of stomach.
Written by Chris "Chugs" Taylor « go back — keep looking »