A fun film about some haphazard thieves who happen upon a small town in Texas and become attached to it and its residents. The thieves have just escaped from jail and the small-townspeople mistake them, through a series of misunderstandings, for a gay couple. Of course, this town is conveniently having a beauty pageant and, of course, who wouldn’t be better than the new gay couple to host the pageant. It is a completely entertaining, enjoyable film that will definitely put a smile on your face. Steve Zahn is used to playing quirky, unusual characters, but seeing Brit Jeremy Northam, who is used to playing proper, buttoned-up historical characters, as a wild “gay” crook is worth the popcorn right there!

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What is there to say about Hyacinth Bucket???? She’s very fashionable. She’s cultured. She’s meticulous. She’s clever. And she drives people CRAZY! Hyacinth Bucket (pronounced Bouquet, please) is a married woman living in what she feels is a superior home in an inferior area. She drives her neighbors to insanity, her husband to drink (well, not really), her sisters and brother-in-law to drink (really), the postal worker and the milk delivery person to hide, and everyone else around her to run in the opposite direction when she’s in the vicinity. But, is Hyacinth aware of all of this? No…she thinks she’s loved and admired — for her class and her breeding and for her impeccable taste and for her Royal Doulton with the hand-painted periwinkles and her INFAMOUS candlelight suppers. Patricia Routledge excels here as the ever-perfect, ever-annoying Hyacinth. She is able to make this over-the-top character likable even though it’s usually hard to love Hyacinth. She’s the woman you hate to love, but just can’t help it. And even though it’s the writing that creates a character, the actor is the one to pull it off seamlessly, which Routledge definitely does here.

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Edina and Patsy, the two main characters of Ab Fab are two of the funniest, rudest, crudest, most vulgar ladies ever to hit the TV screen. And, I love every second of it. Somehow, they both convey a sweet, sensitive side…mostly because of their tight, though highly dysfunctional, friendship. They are former Hippies who never really “out grew” the 1960s…they still think they are flower children, yet somehow they woke up in 40-50-year-old bodies (in Patsy’s case, we don’t know how old she REALLY is). Ab Fab is a British institution. It has been trying to become an American one as well, almost since it started in 1992, but it has never gotten off the ground. And if you don’t mind my two cents on why… The British, though considered stuffy and aloof (wrongly, most times), have a sense of humor (or humour) that is unexcelled in its weirdness, raunchiness and general chaotic cleverness. When The Office show appeared here, I was nervous, because the British counterpart that was such a success was nasty…really, really nasty. It made me feel uncomfortable with its unabashed humor. But, the American version has changed into a lighter comic romp…more of a skit show than a dark, devilish one. Changing Ab Fab under those same guidelines would ruin it. No question about it. You soften the characters, take the edge away, not to mention the chain smoking, drinking and harsh dialogue, and what do you have left…Roseanne? Or some similar lame sitcom that has nothing to do with the British show? Americans are not ready for Edina and Patsy. We would want to tone it down…people would not allow the smoking…and the sex talk, well “let’s put it on cable.” Even on cable, shows with certain edges have hard times finding their audience. Basically, what you and I will have to keep doing is watch the DVDs or find it on BBC America. Trust me, it’s worth all of that work.

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From the writer and director of The Closet, this film is another French comedy success…in the grand tradition of some of the classic French farces (i.e. La Cage aux Folles). The main character is a nerdy guy who’s unsuccessful in the love, looks, and job departments (he’s a valet). Coincidentally, he gets photographed next to a supermodel. Because of a series of comic circumstances, he and the model must “pose” to be lovers and even live together so it appears their proximity in the photograph is legit. Both actors, the valet (Gad Elmaleh) and the model’s real but married lover (Daniel Auteuil), are just perfect in their roles…especially Auteuil, who is one of France’s most talented actors, in both comedies and dramas. It’s a short movie that you want to go on and on since it’s almost too good to end. A must for all comedy lovers…whether you like foreign films or not! And, while you’re at it, check out The Closet too. That one is also a must see!

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Silly but stylish comedy about a young ditzy girl from a ditzy family who, during a charity scavenger hunt, meets a “forgotten” homeless man. The man plays along with the scavenger hunt gag and allows himself to be turned in as the grand prize. To reward him, the young girl makes him the family’s new butler. Of course, everyone knows what is going to happen – somehow the unlikely duo will fall in love and, not to ruin it for anyone, the “happy endings” cliché does occur here. But, leading up to the ending is a film filled with fun, mostly because of the true comic genius of Carole Lombard. The chemistry between her and William Powell’s “forgotten” man allows the audience to believe that fantasies like this do come true. When you hear the word “screwball,” what/who do you associate with that word? After seeing this quintessential “screwball” comedy, you will think of Carole Lombard every time.

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Irene Dunne, supposedly dead, returns after being gone for years to find husband Cary Grant remarried and on his honeymoon. When she goes to the hotel and Grant sees her, his new wife is forgotten about. But, the couple does have other problems, such as Grant finding out that while Dunne was stranded on an island in the middle of nowhere, she was not alone. Remade in 1963 as Move Over, Darling with Doris Day and James Garner, who can’t surpass the superb performances of the Grant/Dunne team. This is the second of three pairings with Dunne and Grant (the first being 1937’s social comedy The Awful Truth and the last was 1941’s tear-jerker Penny Serenade). Of all three films, this one, I feel, gives off the most laughs and chemistry between the two stars.

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This is one funny film. It is not exactly politically correct and it is also not a perfect film (I just don’t like the son’s character) but all-in-all, it will make you laugh (most likely). A remake of La Cage Aux Folles, here director Mike Nichols weaves a comic web of intrigue, bawdiness, love, sex and scandal…all set in South Beach, Miami…one of the playgrounds of the world. Even though there is a great cast here including Gene Hackman and Dianne Wiest, Robin Williams and Nathan Lane steal the show as gay lovers who own, manage (Williams) and perform in (Lane) a South Beach nightclub. Enter Hackman and Wiest as ultra-conservative parents of young lady who wants to marry Williams’ son. The fact that Hackman is a Republican senator involved in a sex scandal is not helping him feel more charitable. What happens? Well, you just have to watch and find out. But, I warn you, get your funny bone tuned!

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The Lady Eve is fun. After seeing Stanwyck in a variety of Femme Fatale roles, it’s highly enjoyable to see her back at her comic roots. And, boy does she shine here as the daughter of a con-artist who is trying to score one big grift. Henry Fonda is perfectly befuddled as her prey…I’ve never really seen Fonda in a comic role like this before and I haven’t seen him since in anything that can come close to topping this. Both actors are simply brilliant in this one. Basically, Fonda plays a wealthy, naive young man on a cruise heading up the Amazon so study his love of snakes. Enter Stanwyck and her father (played by the always-great Charles Coburn) to try and “lure” Fonda into a trap to milk him out of some of his millions. Classic Preston Sturges at his finest!

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Of the four films Cary Grant and Katharine Hepburn made, Bringing Up Baby is the most fun. It’s the wildest and craziest movie made by the pair and even one of the screwier of the screwball comedies ever made. Hepburn plays a flaky—I mean REALLY flaky—socialite who scientist Grant gets involved with after a series of unfortunate mishaps. All Grant really wants to do is get money for his museum from Hepburn’s aunt (he doesn’t know it’s her aunt in the beginning). And, after falling for him early on, Hepburn does everything she can to make sure he doesn’t leave her. Even though Grant and Hepburn and just delightful here, much of the snappiness of this film should be attributed to director Howard Hawks, who sharpens his talent for screwballs here (which will help him out considerably in 1940’s His Girl Friday). Previously more know for serious dramas, Bringing Up Baby is only Hawks’ second comedy. If you in the mood for a mild comedy, look elsewhere, because this one is super-zany and very raucous.

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Billy Wilder’s comic masterpiece stars Tony Curtis and Jack Lemmon as musicians who find themselves in the middle of the mob after they witness the St. Valentine’s Day Massacre and manage to escape. To hide themselves, they pose as females in a traveling band, where they meet Marilyn Monroe’s Sugar Cane, the all-girl band’s singer. Arguably the funniest movie in motion picture history, Lemmon and Curtis create comedy in this film just by wearing women’s clothes. But, Monroe, with her steamy, sultry performance, adds more than just cross-dressing humor to make this a well-rounded movie with more than a fair share of laughs.

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