Yearly Archives: 2014

Emmys 2014: The Snubs

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I come to you today, ranting about awards, not because I want to, but because I need to.

You see, as somebody who doesn’t watch sports, I need some place to let out the insane amount of masculine aggression that lies inside me. So while I can’t complain about that ref who needs to get his eyes checked, I can complain about that voter who needs to stop accepting bribes from Chuck Lorre.

This year, the good news is that the amount of snubs probably come from the fact that there are just so many good shows on television, and not enough awards to give out. I accept the fact that most of my choices aren’t necessarily the ones that beg for awards. However, it just seems wrong that the Emmys almost completely ignored the Comedy Central Renaissance. Seriously, put on Comedy Central at some point. You will be surprised to find that they have a lot more than Tosh.0 re-runs now.

Without much further adieu, here is my list of this year’s most egregious Emmy snubs:

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They Came Together: The Finer Points

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Hi, can I please be friends with both of you? I’m kind of cool and not desperate, I swear. Image via Vanity Fair

I can’t do it. I just…I can’t do it. I can’t…review…They Came Together.

Don’t worry, I haven’t reached my breaking point. I have just found a film that has rendered itself unreviewable. That is not to say that They Came Together is bad or difficult to understand; it is just to say that is so self-aware that at times it won’t feel like you are watching a movie, but rather two idiots with too much imagination pitching their idea for a romantic comedy. And that is not a diss at all.

They Came Together starts with a double date where the story of Joel (Paul Rudd) and Molly’s (Amy Poehler) relationship goes on for a very long time, and turns out to be just like “a corny romantic comedy.” Thus, they proceed to tell the story of the worst romantic comedy possible. They Came Together tries to be bad, and that is what makes it so good.

For that reason, I feel like an ordinary review would not work here. So here is a long of jumble of thoughts on They Came Together:

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Orange is the New Black, Obvious Child

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Episode 15: Ian and Cassie talk about how season two of Orange is the New Black made an already great show even better and why Obvious Child is a breath of fresh air in a crowded summer movie season. Plus, what we’ve been consuming (watching, reading, listening, etc.) this week.

Seth Rogen and Kim Jong-un: Using Comedy to Fight Evil

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For the record, this poster is awesome. Image via Screen Crush

In response to the recent trailer for Seth Rogen’s upcoming The Interview (which looks amazing), Kim Jong-un released a statement from Pyongyang condemning the film. Okay, that makes sense, as I wouldn’t like a film about my death either. Then, he went so far as to call the movie “an act of war” and that America would be in big trouble if they supported it. It is probably important to note that Seth Rogen co-directed The Interview with Evan Goldberg, and it is probably even more important to note that Rogen is actually Canadian.

Rogen responded to the statement with a statement of his own:

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Movie Review: Obvious Child

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Seriously…what’s the deal with babies?! Image via Sundance

Obvious Child has been labeled as “that abortion movie,” which is the equivalent of labeling Trainspotting as “that heroin movie.” Obvious Child is not a film about a controversial topic, it is a film about people dealing with issues and, well, being people.

Obvious Child is the feature film debut of writer-director Gillian Robespierre who, despite sharing the last name of an evil historical figure, has a gentle touch in dealing with tough and sensitive issues. Sometimes, Obvious Child feels so naturalistic that it resembles something that is not even a film at all. It tells the story of Donna Stern (Jenny Slate), a Jewish comedian (I have to point this out, given that this movie is Cultural Judaism incarnate) going through a millennial crisis, which is a midlife crisis that somebody in their 20s might go through. Her stand-up is funny and honest, yet it isn’t getting her much work.

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Netflix Does Late Night, Louie, 22 Jump Street

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Episode 14: In the latest episode, Ian and Cassie discuss the most recent late night shakeup following Chelsea Handler’s move to Netflix. Plus, a recap of season four of Louie, a review of 22 Jump Street, and new Ben & Jerry’s ice cream flavors!

A Helpful Guide to the Most Memorable Dogs in Cinema

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Image via The Next Reel

In a recent interview on Fresh Air, Joel and Ethan Coen said they would rather work with dogs than cats, because dogs “just want to please people” while cats “just want to please themselves.” Perhaps this is why dogs make the best supporting players, both in movies and real life.

Besides monkeys, dogs are probably the best movie characters to come out of the animal kingdom. Sure, they can’t read any dialogue, but sometimes they can steal the show with a well-timed reaction shot, or a ridiculous outfit. Get it? They are wearing clothes! Animals aren’t supposed to wear clothes! What a world!

Anyway, I thought it was about time that man’s favorite four-legged friend got some recognition, because they will never get to win an Academy Award. Before I present my list, here are some important ground rules:

1. No dead dogs! If Game of Thrones has taught me anything, it’s that all men must die, but that doesn’t mean you need to use a dead dog to make an audience cry. Sorry, Marley & Me, My Dog Skip, and Every Wes Anderson film. Seriously, I still don’t know why Wes Anderson likes killing dogs so much.

2. No animated dogs! These dogs must be reel and real. Sorry, Oliver & Company and All Dogs Go to Heaven.

3. There must be actual dogs in the movie. Sorry, Dog Day Afternoon and Reservoir Dogs.

Clearly, I put way too much thought into this. Anyway, here is my list of ten of cinema’s most memorable dogs:

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Movie Review: 22 Jump Street

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Image via E! Online

In 2012, 21 Jump Street became one of the best bad ideas Hollywood ever had. It was a reboot of a TV show that nobody asked for, yet it has more heart and originality than most “original” ideas have nowadays have. But of course, when a movie works well, a sequel must be made.

22 Jump Street proves that lightning only strikes twice in Hollywood. It is by far the best movie to come out this summer all while making fun of everything that we have come to know about summer movies.

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