High Anxiety (1977)

High Anxiety (1977)

[6]

Mel Brooks sends up Alfred Hitchcock in High Anxiety, a spoof centered around a psychiatrist who uncovers shenanigans at ‘The Psychoneurotic Institute for the Very, VERY Nervous’.  Brooks plays the shrink, a man who must cope with his own ‘high anxiety’ while getting to the bottom of a murder mystery before the Institute’s nefarious head nurse and former administrator order him killed! Cloris Leachman and Harvey Korman are stand-outs as the villains. In one scene, you see the hunch-backed, mustached Leachman don a Nazi uniform when she lashes the bound Korman during a clandestine S&M session.

Don Jon (2013)

Don Jon (2013)

[7]

Future Oscar-winner (I’ve been saying this since 2001’s Manic) Joseph Gordon-Levitt makes an auspicious writing/directing debut with Don Jon, a character study of a young New Jersey guy whose addiction to pornography takes its toll on his relationships with women. Gordon-Levitt pumped up to play the title character, but I hope he drops the muscle mass soon — his head’s too small for a body that big! The film is superbly cast. Scarlett Johansson impresses me for the first time ever here, playing a sex-pot who knocks Jon off his feet. Tony Danza and Glenne Headly are great as Jon’s parents, and the ever-reliable Julianne Moore is memorable as a quirky but sullen older woman who competes for Jon’s affections as the story wears on.

Overboard (1987)

Overboard (1987)

[6] A nasty heiress (Goldie Hawn) falls off her yacht and gets amnesia, only to be discovered by a handyman (Kurt Russell) she once screwed over. To get revenge, he convinces her that she's his wife and the mother of…
Silent Movie (1976)

Silent Movie (1976)

[5] Three charlatan filmmakers try to save a studio from corporate takeover by uniting all of Hollywood's biggest stars into one big movie -- a silent one! And the title of this Mel Brooks yuk fest isn't an empty boast…
Jocks (1986)

Jocks (1986)

[3] A team of L.A. college tennis players try to pull their shit together to win a championship before the dean pulls the plug on their program. I'm all for a good teen sex comedy, but Jocks is neither funny…
Grease 2 (1982)

Grease 2 (1982)

[3] Ill-conceived both corporately and creatively, Grease 2 lacks any reason to keep you watching. The plot is basically a gender-reversal of the first film's storyline, but without any interesting characters to latch onto. The songs are horrendous. Repeat: the…
This Is 40 (2012)

This Is 40 (2012)

[6]

Leslie Mann and Paul Rudd star as two 40-year-olds struggling to balance the demands of their marriage, children, parents, and jobs. This Is 40 is billed as a ‘sort of’ sequel to Knocked Up, where Mann and Rudd originated the roles. Both films were directed by Judd Apatow, and both take a more pastiche approach to their narratives. On one hand, I like the fly-on-the-wall approach. It favors character over formulaic story structure. On the other hand, without that trusted structure, Apatow’s movies just seem to go on forever and ever and ever. This one is two hours and fifteen minutes, and I stand by my rule that no comedy should exceed an hour forty five.

Heaven Can Wait (1978)

Heaven Can Wait (1978)

[5] A light, fluffy, inconsequential comedy about a man who dies and is given the opportunity to return to life in another man's body. The movie works best during it's 'fish out of water' scenes, where Warren Beatty interacts with…
Tom Jones (1963)

Tom Jones (1963)

[4] It must have been a weak year at the movies for this to have been the winner of the Best Picture Oscar. Tom Jones is a meandering mess of a narrative, with no strong through line and a bizarre…
Thoroughly Modern Millie (1967)

Thoroughly Modern Millie (1967)

[6]

Julie Andrews stars in this 1920s madcap musical as the title character, a woman looking to land a job and a husband in the big city, but ends up embroiled with a nefarious white slave trader! Mary Tyler Moore is underutilized as the woman Millie has to rescue from slavery, but Carol Channing chews the scenery in a bizarre Oscar-nominated performance only she could have pulled off. The musical numbers are a little unrelated to the storyline and they do go on a bit long, but there aren’t many numbers in the movie, and I believe they’re all over before the intermission. After the intermission, things move very quickly. Director George Roy Hill (The Sting, Butch Cassidy and the Sundance Kid) stretches out of his comfort zone so well, the last half-hour will have you wondering if Blake Edwards took over the film. It’s an intentionally silly, over-the-top sort of movie that pays off better than most of its sort.