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.

METROPOLIS.

a playlist

ETs, AIs

& MONSTERS.

a pick six

by Hunter Jon

Once you decide a character is something that doesn’t actually exist, you’ve suddenly got a problem to solve. How does this character look, sound and move? The possibilities are endless. If your character is of this earth there are limits to such things. What’s fun about, say, aliens, robots and/or monsters, especially in movies, television or other mediums where you’re forced to visually bring them to life, is that you get to design them from scratch. (This isn’t to say I’m eliminating anything humanoid - because you’ve still got a sound and movement challenge on your hands.)

You can design them first and let that dictate their personality, or come up with a personality and try to express it through design. Either way, I feel the result is a whole, pure characterization the likes of which you won’t find anywhere else in fiction. Sometimes a mere silhouette can tell you if someone is meant to be good or bad. Think Gizmo versus Stripe. You can also play with an audience’s perception by having a character look one way on the outside and be just the opposite on the inside. Perhaps this is what makes certain fantasy characters so fantastic. And fun.

However, compiling a list of my favourites was, more than anything, frustrating. Mainly for three reasons:

1. I’m definitely forgetting a character, if not a few. I know I am. I feel like I’ve just driven away from the house on my way to the airport; I know I’m forgetting something but I don’t know what and it’s infuriating.

2. Frankenstein’s Monster really feels like he should be on this list. In fact, if he were, he’d probably be at number one. But he started out as a series of human beings… so he’s not. Tough call, but mine to make.

3. Han Solo is technically an alien, right? I mean, it’s not even up for debate - he’s from a another galaxy. Yet, everything about him is human-like. Does he, and characters like him, qualify? I’ve gone back and forth and back and forth, but finally decided not to open that can of worms. I know what I mean by ‘alien’ and so do you.

Here are my six favourite alien, robot or monster characters.

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

There’s something appealing about a character who, when on unfamiliar ground, is naive, vulnerable, wide-eyed, fragile and full of wonder. Yet follow her home and she turns into a fierce, stable warrior. That contrast is incredibly attractive. So is the character’s design, in this instance.

I’ll never really know whether we’ve got Cameron, a team of VFX artists or Saldana to thank for how well she works. Perhaps a combination of all efforts. Regardless, she works so well that I fell in love with her right alongside our protagonist in a movie that I didn’t even particularly care for.

I’ll never forget the pain in her eyes and body language when she asks Jake, “You knew this was going to happen?”

I look forward to seeing her again.

I honestly haven’t watched the show since I was a kid/teen, but my affection for this lady lingers. Simple as that. I love her gruff voice, matching no non-sense attitude and her design is a dream. She’s half Marge Simpson, half Ripley. Which is a combo I didn’t even know I needed, but now can’t imagine pop culture without.

The pathetic part is that I was hardly aware of this character during my childhood. It wasn’t until they re-issued the cereal for nostalgia’s sake that I bought my first box. That’s where my love of this character began, well into my twenties. I only chose it over the other monster-themed offerings because I’ve been a Frankenstein guy since childhood thanks to Karloff and Whale. I ended up loving the actual taste and I quickly declared it my new favourite cereal. Then I realized there was a lifetime of merchandise attached to catch up on. Before I knew it I was a little obsessed.

Of all the pop-culture characters attached to food in the world, from Ronald McDonald to Bart Simpson selling Butterfingers, he’s hands down my favourite. I love that they took liberties with the design, only taking a basic cue from the look we know all too well. Yet he’s unmistakably the Monster. Any kid could tell you that. Going for pink/red instead of green had everything to do with being berry flavoured, I’m sure, but ended up working well for multiple reasons.

If you ever wished that the Monster of the movies was everything he is minus the murder, well, here you go, folks. Eat up.

Just about the only thing I enjoyed from the sequel trilogy were the characters introduced. No more so than this guy. From the moment we all laid eyes on him in that 88 second teaser to right now as I write this, I’ve been a massive fan. I’ve got the Sphero (thanks, Mum), the Funko Pop, the poster, the Christmas ornament… I’ve even got a look-a-like bow-tie that I match with a pair of orange converse when the occasion calls for it (... it has called for it once).

One can’t deny that he started out as a lazy, shameless and misguided rip-off. R2D2.0 - a souped up, slicker version for a new generation. But what they ended up with was, and remains, so much more. He just fits too well, and adds too much fun, into the franchise to imagine it without him.

There’s a sweet spot on the cute scale between adorable and sickeningly so that I think he rests comfortably in. Proof? His thumbs-up.

Somewhere in an alternate universe there’s a much simpler (and shorter) version of “Blade Runner 2049” that begins and ends with K and Joi’s relationship. It would go a little something like this: she’s a glorified hologram which is programmed to fall in love with Gosling and fulfill all his emotional desires. He knows this, but (much like I imagine anyone who bought her does) pretends her feelings toward him are genuine. He does so for so long that even he begins to forget the truth. Once she’s casually killed by thugs, it’s a revenge story. His rage coming both from the fact that the love of his life is dead and the slap-in-the-face reminder that any love she gave in return was entirely synthetic, bought and paid for. There’s a “Her” meets “Drive” movie in there somewhere and it’s a good one. But I digress…

She’s a brilliant character who’s just as brilliantly brought to life by all involved. Having said that, I’d be remiss if I didn’t mention the name Ana De Armas.

She’s a recent addition to the list, sure, but one who has been on my mind more since being introduced than some characters who’ve been around for decades.

‘Member that episode when Mork became scared of the world after learning that technically anyone could die at any moment? He locked himself in the apartment and built a bubble to live in. But he eventually realized that you’ll waste your life if all you do is worry about what could happen. Boy, that was an awesome episode.

Unlike similar characters we’ve seen since he truly was, uh, let’s say… despicable. So his turn to the good side is all the more meaningful. And going with a classically ghoulish villain design makes the finale even more profound. Technically, he only changes on the inside, but his body language and the sound of his voice can’t help but be affected as well. There’s also the reason for his change of heart, which is one of the greatest lessons you can ever learn. Then give all that to Chuck Jones and you get one of the best characters of all time, monster or otherwise.

They currently seem to design animated characters to resemble the actors voicing them. Which I find concerning, because I believe it defeats the entire purpose and plus of voice acting in the first place. This movie might have been around when this started, because he pretty much looks like John Goodman if he were a monster. However, the performance Goodman turns in is so good that you instantly forget it’s Goodman. And thank God, because it lets us enjoy such a wonderful character without any distractions. That character is wildly flawed, by the way. He’s struggling with his growing ego and what’s expected of him based on his appearance. He handles both poorly at times and pays for it. How great is that?

The reluctant father-figure idea has been explored everywhere from “Paper Moon” to “Logan”, but Pixar in their prime managed to deliver my personal favourite incarnation of the trope.

Few love stories are quite as touching as Sully and Boo’s, and since I relate more to the former, he’ll always mean a great deal to me.

Sometimes a character comes along in a sequel who is so perfect that people instantly forget there was ever an instalment without them. He’s the definitive example (also see: Gollum, Jessie & Bullseye).

Although he’s so iconic now that we sometimes forget why he looks the way he does - his introduction was meant to fool us. You hear of his legendary Jedi master and in your head you’ve got Hercules. So his appearance is an obvious effort to go against expectations. Once it’s revealed that this goofy old swamp creature is Yoda, you realize we’re not talking about brute force, we’re talking the power of wisdom, knowledge and life experience. Which, in turn, results in (at least in this fantasy) the ultimate psychical ability and strength. It’s such a great idea for a character and one that isn’t as far fetched as you may think. Winning a war with your brain? Very possible.

Layer in his unique, signature pattern of speaking and the wisdom it’s used to impart and you’ve got a character worthy of his own genius.

Silent characters are usually supporting ones. So it was courageous, and risky, to have one carry such a mainstream movie.

There’s something about the fact that he’s so very, very lonely yet never lets go of any whimsical optimism nor built-in determination that is truly inspiring and heartwarming. The fact that he’s able to convey all that (and more) with limited facial expression and vocabulary is very impressive. Plus, curiosity has always paved the way for quality comedy and he’s bursting with it. What you end up with is me smiling the entire time he’s on screen. I doubt I’m alone.

We’ve only been on one adventure with him, yet he stands so tall in pop culture that you’d think he carried his own franchise. That’s either a testament to re-watchability or how memorable, relatable and timeless he is.

I have no idea why he works, but he does. His smart-ass jokes are meant to be bad and are often met with co-characters rightfully rolling their eyes. Yet, he’s hilarious. He’s a terrible narcissist and, frankly, a total dick. Yet, he’s oh-so lovable. Maybe it works because all those traits belong to a deranged, furry brown puppet? Maybe it’s the laugh track? I don’t know. I can’t quite explain it. But I’ve seen every episode and quote him almost daily.

Leave it to John Hughes. “Flubber” doesn’t even need this character. The original proves that. But once John lazily introduces her to provide constant exposition and give the lead someone to talk to, he has to overachieve and make her one of the best characters he’s ever written. If you watch this crappy movie entirely from her point of view it’s suddenly an overwhelmingly beautiful thing.

She’s so dense with personality and purpose that I can only begin to scratch the surface, really. For starters, though, having a character often express herself using literal clips and quotes from pop culture rather than use her own, true voice is not only relatable, but a profound observation on how the shy, anxious outsiders/geeks among us communicate, for better or worse. And if that’s not deep enough for you, I can go further and suggest that she manifests the ultimate desire within us all, which is to be something more than what we think of ourselves. Or, more specifically (and certainly in Weebo’s case) a normal, attractive human being. She wants to achieve a literally impossible physical standard. One set by, oh, let’s say, models in magazines (as the movie depicts). Then, and only then, can we not only be loved, but dare to express our own love. Because, as the fantasy goes, we won’t be met with rejection. We will finally be accepted because we are perfect.

But what Weebo doesn’t know, nor is given the screen-time to discover, is that she’s already perfect just as she is. This tail-end lesson is taught over and over and over in all kinds of media, but rarely do you see what comes first - that aching, obsessive desire to be a ‘beautiful person’ and not a hunk of junk - so clearly and/or cleverly captured in any medium.

There are few things as unfortunate as a proclamation of appreciation being stifled due to fear and insecurity. Weebo’s was. I won’t let mine be, so I’ll shout it from the roof tops: I love this character and am incredibly appreciative of Hughes, Mayfield and the great Jodi Benson for giving her to us exactly the way they did.