This is a movie I have clear memories of being advertised in a poster case in my high school cafeteria, which wouldn’t be possible since it was released almost a full year after I graduated. It does occupy close quarters in my brain with The Perfect Score (a 2004 heist movie about students stealing SAT answers) and Easy A (a reimagining of The Scarlet Letter set in a modern high school that didn’t even come out until 2010, why is it even in this trio?), but I don’t recall Perfect Score being in that case. Memory is incredibly fluid sometimes.
Right. This is the one with MIT students counting cards in Las Vegas. It seems like it’s being positioned as a heist movie, so it will be interesting to see how the film makes counting cards visually and emotionally engaging.
I have an impression this is kind of comedic, but I’m not sure if that’s accurate. Or if it came from trailers that may or may not have been pitching it in a different direction to get more ticket sales. What I’m looking at now says drama, but I’m guessing it’s a bit of a modern caper with a lot of fun thrown into a high-stakes drama.
All I know for sure is that it’s based on the memoirs of a real con man, and it’s about the con man eluding capture from a pursuing detective, and I think there’s a lot of bluffs that get a little over the top, but there hasn’t been much talk about this movie since it came out, so I’m not sure of much of anything except the cast.
I’ve been on the fence about trying this movie for a long time, as well as about reviewing it. This seemed like it had a pretty big cultural impact that lasted longer than the rest of the late night comedies of its time. It had at least two sequels, the leads both went on to bigger and better things, and I think this movie was what restarted Neil Patrick Harris’s acting career.
So while it is an R-rated comedy about a pair of stoners, it seems to be still relevant and probably worth reviewing despite some objectionable content, or at the very least an anthropological study of a snapshot of a subculture from the recent past.
I remember being probably exactly in the lower bound of the age range this movie was made for at the time, and advertised at relentlessly about it, but not at all interested because I didn’t do raunchy movies them. Now I do consider raunchy movies to capture valid facets of the human experience, I just disapprove if they’re raunchy in ways I don’t care for. And it’s an early 2000s movie, so there will probably be jokes that aged terribly.
This movie seems to package David Spade’s type pretty well. I’ve enjoyed him in a few more family friendly things, but that often sanded down his edge a bit too much. This is probably going to be too much David Spade edge.
I clearly remember the promotion for this movie (it’s still a little strange to have films from about the time I started this blog that are old enough to show up here), but everything I saw indicated that Dave wasn’t a real person but a ship piloted by tiny people for some reason. One of the more intriguing Eddie Murphy vehicle concepts since the late 90s, but since so few of his projects have been well received since he got enough fame to make any movie he wanted, not that compelling. Also I seem to recall the little people were all played by Murphy, which seems to further underscore the artificiality while also playing into his enthusiasm for multiple roles (something I can’t begrudge him for, as when I was regularly making videos I kept writing stuff that let me act against myself too).
However, when I came across this opportunity now, the summary I saw described Dave like he’s a man hijacked in his own body by tiny aliens sabotaging his love life. Everything I assumed may be wrong and I’m now more interested in the story instead of just the concept.
I’m not sure I’d even heard of this movie before I was invited to watch it. It’s definitely something outside my normal tastes, but I should occasionally broaden my intakes in directions I’m not as eager about as well, and crime drama still has the potential to excite.
From the first time I heard about this movie, I was vaguely interested in the reality-hopping concept, but I wasn’t into martial arts movies and so I wasn’t all that attracted to it. What I know about the movie hasn’t really changed, I’m mostly just warmer to Kung fu films in general, and also I’m a little more aware of Jet Li’s work.
Apparently the movie was originally meant for Dwayne Johnson, who would’ve been very different, but I also would’ve been less familiar with 20 years ago.
I remember this being framed in the commercials like the invisible guy was the villain of a horror story, which I suppose could be from his slide into monstrous behavior without human consequences for his actions. I vaguely remember the movie coming up in an early explanation of Six Degrees of Kevin Bacon, though that’s probably more because it was recent than because it’s a particularly significant hub in Bacon’s connections with other actors.
I also remember it putting CGI effects that seemed completely novel front and center to do a more visually engaging telling of The Invisible Man than had been seen before. The League of Extraordinary Gentlemen came out not long after, but I don’t think they put as much effort into the Invisible Man effects because he was part of the ensemble, but also it wasn’t as new anymore.
Here’s one more that’s always been something I would probably get to eventually. It doesn’t seem to have much to recommend it to my tastes, but it was too big to ignore forever. I foresee a slow motion CGI mess with a couple of dead memes and hardly any plot, but it’s based on a Frank Miller comic, so there’s some hope that it has some engagement besides the visual spectacle I expect to enjoy until it overstays its welcome.
This might be the first entry in this series from my time in college. It’s not quite from after the inception of this blog, but getting very close to it. It wasn’t long after when I saw this movie when I got my first opportunity to go back and catch up on movies I’d missed. But that wasn’t the way I saw this one.
I first saw Talladega Nights because it belonged to my my freshman roommate, who set up his TV, small movie collection, and mini fridge, told me I was welcome to use all of them, and then found friends outside the dorm to spend all his days and nights with, leaving me alone with the whole room pretty much all the time. I can’t recall whether this movie got played in one of the rare times he was there or if I put it on myself in a bolder move in using his stuff, as using somebody else’s movies without their direct permission still seems like a breach to me even if blanket permission has been given (it occurs to me that I don’t feel this way about the massive movie and game collection of another roommate I had in the early days of the blog, which was probably represented multiple times on here). I’m pretty sure that was the only time I saw it until now.
Born in the back of a speeding Chevelle, Ricky Bobby grew up not knowing his father, who left to race cars and do more shady things, which may have imparted his obsession with speed to him. Ricky only saw his father once in his childhood, making an unexpected and ignominious appearance at his class’s Career Day, but he left him with the dictum that “if you’re not first, you’re last”, a phrase Ricky went on to model his life on. Without many career prospects, Ricky found his way into the pit crew for Dennit Racing, finally getting his opportunity to enter a NASCAR race as a replacement for the driver who walked out in the middle of a race while in last place, and Ricky proves himself by finishing third, becoming a racing star. Backed up by his best friend Cal driving Dennit’s second car, who always gives him the assist to get to first, Ricky quickly achieves a life of fame and fortune, living in a mansion with Carley, the smoking hot fangirl he married, their two disgracefully disrespectful sons, and Carley’s father who impotently disapproves of how his grandkids are being raised. Ricky’s maverick driving style makes him a fan favorite, but costs him with the sponsors and the tournament judges, and therefore does him no favors with the new head of Dennit racing, Larry Jr., who hires openly gay Frenchman Jean Girard from the Formula One circuit to be his new, dependable lead driver with European precision. Ricky’s jealousy overwhelms him, causing him to crash and have a psychological breakdown that endangers his ability to ever be able to get behind the wheel of a car again.
This felt really raunchy at the time, but while it’s still kind of raunchy, it doesn’t feel like that’s an exceptional thing. I think the raunchiness largely comes from how it’s both a parody of the contemporary machismo but also kind of an earnest celebration of it. It feels entirely a product of its time, but no moreso than in the jokes about Girard being gay. This is tempered by Girard being revealed to be an honorable guy looking for an equal on the track and definitely a much more rational person than Ricky, but the jokes still significantly Other him. It occurs to me now that by being gay and European, Girard is specifically designed to be the antithesis of the NASCAR stereotype and the American nationalist cultural moment that NASCAR was a significant component of at the time. His being French is probably targeted at the specific distaste for the French after the country refused to support the US in doing some post-9/11 lashing out.
While the extreme farce style can easily get out of hand in a bad way, there were still plenty of laugh out loud moments. Its extremely contemporary nature probably keeps it from being as timeless as Anchorman, but it’s still a lot of fun. It’s not something I would come back to a lot, but I can see occasionally revisiting it to get my expectations exceeded again.