The Film Experience™ was created by Nathaniel R. All material herein is written by our team. (This site is not for profit but for an expression of love for cinema & adjacent artforms.)
The King of Staten Island is both typical Judd Apatow and a pretty subtle departure from the world he knows and has often depicted on screen. Make no mistake, it’s an overlong, meandering coming-of-story about a slacker who can’t get his head on straight until he does (very familiar), but it also features a deeper psychological profile than we’re used to seeing in Apatow's films.
Much like many of Apatow’s big-screen efforts, his latest uses the particular talents of a gifted comedian and crafts around them a semi-autobiographical tale of love and loss. Pete Davidson’s father was a fireman who tragically perished in the ashes of 9/11, and so it goes that Davidson is portraying a wayward 24 year-old named Scott who lives with an exhausted mother (Marisa Tomei) and his college-bound sister (Maude Apatow), and is still dealing with the loss of a fireman dad he knew only as a saint...
Eric here, with a quick review of the new movie from The Lonely Island comedy trio of Andy Samberg, Akiva Schaffer, and Jorma Taccone, Pop Star: Never Stop Never Stopping.
Pop Star is one of those films, like Anchorman or Zoolander, that gives you two choices: surrender or resist. You can either dive headfirst into this mockumentary of pop music sensation Conner4Real, and enjoy a hodgepodge of hit-or-miss jokes…or you can yawn at the filmmakers calling in a favor to every famous person they know (Carrie Underwood, Adam Levine, Usher, etc.) to lend some authenticity to the piece.
If you resist, Pop Star is probably a pretty unbearable sit, because it’s another movie from producer Judd Apatow that features a bunch of male comedy guys conning a studio out of about $30 million just so they can show the world (and themselves) how adorably imbecilic but ultimately likable they are. While the film itself is about an egomaniac, there’s a lingering ickiness about the ego behind and in front of the camera too. The film purports to skewer rap star narcissism, but the behavior is celebrated as often as it’s parodied.
The gangs all back together to discuss two riotous female comedies: Amy Schumer's mainstream Trainwreck, already a hit and packed with famous faces, and the LGBT festival favorite Tangerine, which features no famous names or faces but abundant ragged laughs. See them both and listen in!
Contents 00:01-23:30 Trainwreck We all like it but how much: It's a very good comedy but maybe not a very good movie? The division of duties between Judd Apatow and Amy Schumer and the trouble the movie has navigating its outre sexuality with its traditional romcom trajectory. Also discussed: the great supporting cast including Tilda Swinton, Brie Larson, and James LeBron. 23:30-42:36 Tangerine We discuss Tangerine's aggressive charms, iPhone lensing, one-day structure, and charismatic actors. But mileage may vary on how people perceive its portrayal of trans women of color as prostitutes again. We were all won over by the movie's specificity of place and character but will people ever stop mistaking it for the Estonian Oscar nominee Tangerines?
You can listen to the podcast here at the bottom of the post or download from iTunes. Please continue the conversation in the comments...
Jason from MNPP here with this week's "Beauty vs Beast" -- you know who's been in love with Paul Rudd for twenty years? This guy's been in love with Paul Rudd for twenty years. Almost exactly - Clueless came out in July of 1995 and I think it's safe to say that 95% of everyone who saw Clueless in theaters fell in love with Paul Rudd that summer twenty summers ago. Well today is Paul's 46th birthday and here on the verge of what's probably his biggest role ever (a literally little superhero movie called Ant-Man) it seems a good time to look back...
... to something small, super small, that changed the course of his career. Even though Wet Hot American Summerwasn't a hit when it came out in 2001 I can still remember it being a topic of conversation, how everybody was a bit surprised at how funny Rudd was in it. He'd done light romantic comedies a la Clueless before but his work in WHAS was diffrent - raunchy, and going-for-broke. And as the Apatow School of Comedy took over the decade, Rudd slipped himself right into the zeitgeist.
As for Wet Hot it was a cult movie pretty much immediately - I've certainly been banging the drum for it from my microscopic corner of the internet for a good long while now, and that dedication's been rewarded with Netflix's upcoming Wet Hot series, which will premiere on the streaming service on July 17th (aka two days before the 20th anniversary of Clueless. Weird right?)
As for this week's "Beauty vs Beast," I'm focusing in on a single scene in the 2001 film (one I've probably re-enacted to my boyfriend's chagrin far too many times when I'm asked to pick up some mess I've made) in order to face off two of my favorite characters in the movie - in the left-hand corner we've got Andy (Rudd), the Camp's bad boy, and in the right-hand we've got Beth (Janeane Garofalo) the responsible-ish Camp Director.
Whose team are you on?
Team Andy0%
Team Beth0%
PREVIOUSLY As Nathaniel noted in Friday's edition of April Showers last week was ALL about Mommie Dearest, and this contest was no different - and it wasn't Mommie's first time at the rodeo, and it showed. at 80% Joan Crawford (Faye Dunaway) trounced the competition like... well like those rosh buses, and that talcum powder, and Christina herself. Although it was par who made the most sense:
"Team Christopher! [mostly for having the sense to stay out of this mess until the end]"
(Why do I like stringing movie titles together in blog post titles? I know not!) The box office charts were exceptionally boring this weekend so I shan't regurgitate them. Let it suffice to say that moviegoers weren't enthused. The weekend was weak for all of the new releases from Tom Cruise's Jack Reacher, to Babs & Seth's The Guilt Trip and the one where Paul Rudd stands in for Judd Apatow in his plotless interminably long home movies. This is 40 is not without laughs but good lord it is indulgent... the 134 minute comedy has so many continuous subplots and so little in the way of a central plot that it plays exactly like a tv series marathon with the credits removed. TV is free to watch and Apatow was better at it (Freaks & Geeks > than all Apatow movies combined. Discuss) so one wishes he'd return.
The most exciting titles are waiting for Christmas Day openings (Django, Les Miz) or have opened in less than 20 theaters (Amour, The Impossible, Zero Dark Thirty, On the Road) to taunt you with their elusivity.
I'd ask you what you went to this weekend but you probably rented a movie, right?
But never mind all that.
Look at this cute teaser poster for Pedro Almodóvar's airplane-set comedy I'm So Excited! (thx to Txus for showing me). Makes me want to fly right to 2013 and skip all this Oscar crap.
Saturday, June 13, 2020 at 9:30PM 
The King of Staten Island is both typical Judd Apatow and a pretty subtle departure from the world he knows and has often depicted on screen. Make no mistake, it’s an overlong, meandering coming-of-story about a slacker who can’t get his head on straight until he does (very familiar), but it also features a deeper psychological profile than we’re used to seeing in Apatow's films. 
