WE.

COWLMAN

MEETS SUPERIOR-MAN

(& HIS EVER TRUSTY LEMON).

AND THIS ONE

GOES LIKE THIS.

a pick six

by Hunter Jon

I listed my favourite stand-up comedy specials in a previous post. You can check out those picks here:

http://almostentertainment.blogspot.com/2020/04/goes-something-like-this.html

Now it’s time for stand-up comedy albums. However, I can’t really claim that these are my absolute favourites of all time. I’ve disqualified anything that is tied to a comedy special of any kind, whether audio from a special or a set of material that eventually became a special. This eliminates quite a few. So many, in fact, that when contemplating this list I decided the best route to take was to simply cite the comedy albums that I’ve listened to the most. Due to the nature of our current times, you’ll notice how relatively recent these all are. This is because I have them all on my phone. (In a few cases, the album is only available digitally - I couldn’t own a physical copy if I wanted to.) Which means these albums are literally in my pocket to listen to whenever or wherever I please. This is surely how each became a ‘most listened to’. Having said that, I should make it clear that I love each of these dearly, and nothing has made the list because of mere accessibility.

Here they are…

Julia is a wonderful anomaly. When covering bawdy ground that I don’t normally care to tread, her irresistibly earnest delivery makes me happy to be there. When her presentation is more on the abrasive side, which isn’t exactly my cup of tea, there’s always an astute observation underneath that easily wins me over. In other words, she’s skillfully cracked the code and offers something truly special that I feel the Schumers and Shlesingers of the scene (despite their massive successes) are lacking. I’ve been following her stand-up for a long time and was delighted when she released this album, which concisely complies her best bits. Early on, there’s a beat after a joke and then she says, “I really like dogs. Hate segues.” It’s such a lightening quick joke that the audience doesn’t quite grasp it. But when six words make me laugh that hard, that’s the work of a professional funny person.

Few comics combine absurd and abstract with honest, memoir-style confessionals as well as Bamford does. Her sets can be weirder than weird one minute and painfully relatable and healing the next - with some seriously spot on impressions/voices tying everything together. And, Christ, are her observations on human nature shrewd. The fact that her signature ‘thing’ isn’t a persona or character but simply her genuine self melts my heart… and makes everything all the funnier. In my opinion this album was her peak; the best blend of all she has to offer. You know you’re in safe hands when she opens with: “Sometimes when I say party, I mean eat organic Fig Newtons, watch the Discovery Health Channel and cut out pictures from ‘O’ magazine that resonate with me…”

I would guess most stand-ups suffer from anxiety. Perhaps depression. But I haven’t heard any acknowledge it as bluntly as Aparna. Her doing so should be a downer and make her comedy very ‘dark’. But that’s not the case. She pulls off the magic trick of sharing all she’s suffering from and struggling with while managing to be light, likeable and very, very funny. The topics she addresses are normally accompanied by an ugly underlining resentment and cynicism. She projects everything but. Carrie Fisher famously said, “Take your pain and make it art”… well, Nancherla does so better than most. Her joke about getting stuck walking behind a couple holding hands and feeling like she’s trapped in the end credits of their rom-com is everything to me.

Nothing like this had ever happened before, nor will it ever happen again. It’s a once in a lifetime recording. And it challenges the medium, because it’s a stand-up set where the aim to be funny takes the back seat. It was brave of Tig. It was brilliant of Tig. Yet you just know she wasn’t directly attempting either. That’s why it works so well. By the time she tells ‘the bee joke’, she’s inadvertently stumbled into one of the most effective and satisfying punchlines of all time. For the longest time I thought the title was “Live”, as in a live recording. But I’ve since learned it’s “Live”, as in the act of living. It’s not only thought provoking wordplay - it’s a stealthy celebration of life, as is the album itself.

“I haven’t slept for ten days… because that would be too long.”

Hedberg approaches his first CD recording with a lax irreverence that is too cool for school. In fact, this may be the definitive ‘cool’ album of the modern stand-up era, complete with a jazzy double bass score throughout. There’s a moment where he can barely get a joke out before laughing at himself, admitting “ - alright, that joke is ridiculous”; talk about an unpolished, loose set. It (thankfully) captures that precise moment when what he’s been working on is finally beginning to work and work well - but he doesn’t necessarily know the significance of it yet. He’s still underground and innocent. His time in Hamburg, you could call it. His one-liners hardly reveal anything about his personal life, yet he creates an atmosphere so intimate that by the album’s end you feel like you're pals. Not since Carson has a comedian been able to make a joke falling flat work so well to his advantage. Sure, no one can deny that Steven Wright paved the way for this type of thing, but Mitch was truly one of a kind… and probably a genius.

Despite being on training wheels here (unusually sturdy ones, mind you), Nate’s voice is fully developed and hasn’t changed one bit. At a time when so many comedians are modelling themselves after the ‘biggies’ in the business, Nate is a true original. Most obviously, how clean and dry he is. And by clean, I mean he doesn’t curse. By dry, I mean his droll delivery. He’s so laid back here, and so conversational, that you don’t so much feel like you’re listening to ‘comedy’ as you feel like you’re hanging out with your funniest friend. Perhaps this is the biggest compliment I can give the guy: he and I have nothing in common. Nothing. Yet I love everything about this album. Everything from its cover, to its material, to the names of the actual tracks, to the man himself. I’ve lost count of how many times I’ve listened to it. It’s been amazing to watch/listen to Bargatze grow as a comic, and I suspect he is on his way to becoming America’s comedian - one the whole family can enjoy.

“Have you ever been yelled at by a clown? I have.” Brilliant.

THE DAD

WHO LEARNED

SOMETHING.

Looking for a tired, overused narrative template for your family comedy? Look no further! It’s the WORKAHOLIC OR DEADBEAT DAD WHO LEARNS TO BE A BETTER FATHER (PREFERABLY THANKS TO MAGIC) trope!

Tune in next week for I’VE GOT MY KID(S) FOR THE WEEKEND BUT THE WORLD IS ENDING*, featuring such classics as The Lost World: Jurassic Park and War of the Worlds!

*brought to you by David Koepp

PEOPLE PLAYING

PEOPLE PLAYING.

a pick six

by Hunter Jon

Hockey and golf. Those are the two sports I’ve watched with any kind of consistency throughout my life. Each can be explained away simply: 

Hockey? I’m Canadian.

Golf? My dad watches it.

This isn’t to say I follow either of these sports. I’ve just seen a lot of each played. Mostly in my peripherals, occasionally drifting directly into view. But I can say with certainty that more than actual sports, I’ve watched movies about them. Like a lot of people who don’t care for or follow sports, I love a good sports movie. Some reasons are obvious (there are few things as cinematic as that final game, if done right) and others remain a mystery.

Aaron Sorkin once said that when watching a bio-pic, you have to look at it as a painting rather than a photograph. He’s right, and you can exercise as much artistic license as you want when painting. So I’m not sure how ‘true’ these true stories are. But they’re all billed as such and that’s about as deep as I went.

Here are my six favourite true-life sports movies.

(I’ve included the appropriate amount of honourable mentions)

61* (2001)

It’s overflowing with heart yet never unbearably sappy. That’s a tricky balance to pull off, but Billy Crystal does it. His love of the game, specifically during this era, is as palpable as Cameron Crowe’s love of music in “Almost Famous”. I defy you to not get drawn in by his passion for this story and these men. And you don’t even have to know what baseball is to get invested here. At its core it’s a clean, clear comparison of character, which is irresistible to examine from every angle. Everyone at work here, cast and crew alike, does their job with a steady hand. Especially Pepper and Jane, who are at their absolute best.

However, none of this ever fully distracts from it all being a bit broad and undeniably paint-by-numbers.

HEART LIKE A WHEEL (1983)

At its worst, it’s a movie-of-the-week that can’t afford to show all the important races the characters keep referencing. At its best, it resembles an “Alice Doesn’t Live Here Anymore” era Scorsese picture.

I read somewhere that they originally wanted Jamie Lee Curtis for this role. Thank goodness that didn’t happen, because it gave way for the performance of Bonnie Bedelia’s career. She’s nothing but brilliant in this.

The scene where she does the call-in radio interview is so well executed and mighty fine storytelling.

And you get a little Dick Miller, which is good for the soul.

RAGING BULL (1980)

I like it. Honest, I do. I just don’t love it.

SEABISCUIT (2003)

Certain period pieces decide to carry an aesthetic and tone of the time they take place. This movie feels like it’s straight out of the era it depicts. Earnest. Wholesome. Schmaltzy. Anywhere else these would be faults. Here, they are strengths. This is thanks to what a solid storyteller Ross is.

He and his casting director assembled a fantastic cast. A trio of leads at the peak of their powers surrounded by solid supporting players. Mainly Elizabeth Banks, who stands out in a really striking way; makes one hell of an impression with very little screen-time.

Thank goodness this one was made when it was, because Ross (and his team) would have half the budget if he tried to do this now. Every penny’s on the screen in a wonderful way. This was a time when CGI was used sparingly to stitch things together only when absolutely necessary, not to create the whole world.

It’s a technical and emotional achievement that introduced me to a true story I was entirely unfamiliar with. Good, good, good.

I, TONYA (2017)

These kinds of movies rarely colour outside the lines. They usually sit safely in the box. This leaps out of it and scribbles up a storm, bending the genre in the process. It’s punk rock moviemaking applied to a seriously unlikely subject, so, despite being just another underdog sports story, it feels extremely fresh. This might also be because the movie has nothing to do with figure skating at all. It rightfully rewrites a little bit of history, revealing a villain to be a victim. Whatever version of the truth you believe, you’ve gotta admire the noble intentions at work here. It’s kind of beautiful how ugly this story is. And I can’t go without praising Robbie, who changed people’s perception of Tonya and herself with this landmark performance.

SOMEBODY UP THERE LIKES ME (1956)

This movie had issues and solved them. It was supposed to be a big Technicolor picture starring James Dean. When he died, the solution was to slash the budget and take a chance on a guy named Paul Newman, whose only other movie had been a flop. Robert Wise was told to shoot in black & white using studio sets for all interior scenes. He thought they looked cheap. His solution was to make nearly all interior scenes take place at night. It works. And the on-location stuff he and his crew captured is extraordinary, especially that iconic shot of Newman walking through the market place. Then there's the biggest challenge - not making Graziano seem like an asshole and a bum. Talented direction, writing and performance solve this quickly. You don’t get to “Raging Bull” or “Rocky” without this movie - and not just because of the boxing. People often site “The Sopranos” as the first TV show to star a true anti-hero; a flawed, vile character who you’re rooting for. Well, movies like this, and its portrayal of Rocky, paved the way on the big screen.

But a movie shouldn’t be measured by the technical or narrative obstacles it overcomes. It has to stand alone. And this does. Wise is in full command here, in-camera editing but allowing room or a Cassavetes-like spontaneity that keeps you on the edge of your seat.

Rest in peace, Pier Angeli. Her big eyes and heart soar here. (If you like her and by chance haven’t seen “Teresa” - see it.)

WITHOUT LIMITS (1998)

To say I have fond memories of watching this as a child with my old man doesn’t quite do those memories justice. He has a profound love for this movie (he’s a runner himself) which he passed down to me. It’s a piece of art that is essential to our relationship as father and son. Those are rare and should be cherished, so I do just that. But it’s not on this list for nostalgia’s sake - no one’s more delighted at how well this movie holds up than I.

It’s my second favourite Billy Crudup performance but the first that I saw.

Every once in a blue moon a movie is elevated by comparison. There is another Prefontaine movie, called, well, “Prefontaine”. It only makes me appreciate this one all the more. Aside from a superior quality of filmmaking, I believe this one benefits from a more honest portrayal of Pre. By introducing him as a stubborn know-it-all who sleeps around, there’s room for him to grow both professionally and personally. That’s called an arc, and makes for a better story.

“To give anything less than your best is to sacrifice the gift.”

- Steve Prefontaine

A LEAGUE OF THEIR OWN (1992)

If you ask me, this is one of the most enjoyable movies you’ll ever seen. Marshall always brought a little situation comedy strength to her pictures. (Gee, I wonder where she honed those skills?) And once the stage is set, it’s a freight train of fun. So much so that you forget you’re in the middle of a very important history lesson.

This is a massive movie. So many threads to follow. So much story to tell. The fact that it’s not an absolute mess is a triumph. And every member of the large ensemble is given their moment to shine. Everyone, behind camera and in front, knocks it out of the park. Ohp - pun!

Thanks for this one, Penny.

REMEMBER THE TITANS (2000)

Two true-sports stories were monumental movies of my youth. One was “Ali” and the other was this. They both had a profound effect on me at ten and eleven years old. I will always remember both fondly and forever be indebted to them for how they opened my eyes. Sadly, I find one of these movies just doesn’t hold up. Whereas, in my eyes, the other just keeps getting better with age.

I could spend all day praising this, but instead I’ll just give it one crucial compliment: it pulls off a few contradictory magic tricks. It manages to effortlessly balance two perspectives: that of its movie-star lead and of its ensemble of youngsters. One minute it’s deadly serious and the next laugh-out-loud funny, all while maintaining a consistent tone. It flawlessly flip-flops back and forth from its pitch-perfect use of classic pop/rock songs and its incredibly rousing & moving original score. This results in one of my favourite soundtracks ever. It’s as great a study of character as it is the times.

And its montage (what would a sports movie be without one?) focuses on the strength of camaraderie rather than muscle-building.

For me, it offers a little bit of everything you could ask for in a Hollywood picture, all wrapped up in a fast-paced, wildly entertaining and accessible package. This is grandiose, four-quadrant moviemaking at its absolute best.

Left side, strong side.