Bill Cosby: Far From Finished

Bill Cosby: Far From Finished

Bill Cosby: Far From Finished

 

Bill Cosby has been an artist who has always been around who I never took the time to familiarize. Growing up, he was always the Jello guy and then later the host of the hilarious Kids Say The Darndest Things. A few Youtube clips aside, I have not seen any of his standup specials in completion.

The simplicity and universalness of Cosby’s comedic material is the price of admission. Most of the act is themed towards dissecting love and marriage. The highlights for me were his opening bit about people’s expectations of him swearing on Comedy Central, a bit about chess, and another where Cosby uses audience interaction to build a surprise twist.

Cosby’s drawled out diction makes it hard to focus on what he’s saying. I zoned out a few times because he took so much time between words. Maybe this is a case of me not being previously familiar with his past stand up specials, but there was much rewinding on my part. It is ultimately something one just tunes to or doesn’t.

Cosby’s persona and ability to act out his concepts makes up for it. His facial expressions are world creation; they instantly transport the viewer and place them where he wants to them to see the absurdity of his jokes. His persona is likened to an senile man trying to prove that his mind is still working. Don’t be fooled, he’s still very sharp. There’s one noteworthy hilarious moment where he barks at the audience for finishing one of his punchlines. It still boggles my mind how he can rouse that much energy on stage sitting down.

Anybody who wants a laugh for an hour, I recommend it. Anybody can enjoy it.

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Sarah Silverman: We Are Miracles

Sarah Silverman: We Are Miracles

Sarah Silverman: We Are Miracles

Sarah Silverman headlines her very first new HBO comedy special in front of an intimate audience of 39.

Sarah Silverman is a comedian that’s always been around, but an artist I never directly got into by chance. I watched a few episodes of The Sarah Silverman Program, which was too obscure for my taste. But I always enjoyed her cameo in Judd Apatow’s Funny People, Louie and thought she gave an effective supporting performance in Sarah Polley’s Take This Waltz. I enjoyed clips of her standup onlinebut have not seen her perform a complete comedy hour till now.

The decision to shoot the special at the Largo Comedy Club in front of 39 people is a great one. Silverman never looks far off into the distance or above to a balcony booth. There’s no big giant TV screen of her in the background for the cheap seats. The intimacy of the Largo lends itself for Silverman’s raunchy off-the-wall random tangent comedy, giving her much more freedom to roam from topic to topic without transitions.  “I don’t need segue ways.” Silverman quips,
“The brain doesn’t work that way.”

Some of the joke highlights were a childhood story of how her older sister used to scare her, sin atonement in Christianity and a bit about the Make A Wish foundation. It’s nice how much politically incorrect jokes she gets away with, showing an affable innocent girly  persona can really go a long way to make hard topics durable.

The whole experience is more akin to a live show, as Silverman is able to milk laughs from silences and even counter critique audience reactions when they aren’t up to par. It’s always awkward when comedians do audience interaction in big theater shows and this completely fixes that. The reactions from the 39 people create a more potent, immersive connection to Silverman’s perspective. And making 39 people laugh, after all, is much harder than making 200 people laugh.

Aziz Ansari: Buried Alive

Aziz Ansari: Buried Alive

Aziz Ansari: Buried Alive

The core aspect to Aziz Ansari’s standup, from his previous specials Dangerously Delicious and Intimate Moments for a Sensual Evening, is his ability to create random tangents. Here is the structure: 1) Aziz encounters something absurd or silly. 2) He deconstructs it with logic. 3) He then expands the absurd concept on imaginary random tangents. For his last special, this got repetitive and I distinctly remember zoning out until he changed it up. They’re funny anecdotes, but the core message under his bits don’t hold water because we know these imaginary tangents he exits his jokes on never happened. More importantly, they never could happen.

He has improved upon this for Buried Alive, no longer relying on anecdotes of meeting strange people or talking about his oddball cousin Harris or Kayne West stories. Instead he focuses his logic and ability to create imaginary scenarios onto real life. In Buried Alive, it’s mostly centered upon the subjects of dating, marriage and raising a family. The difference is, he has a point of view and uses his humor to highlight his fears and trepidations about marriage, the massive responsibilities of marriage and raising a child and how strange dating has become in the day of modern technology.

My two favorite segments where Aziz does crowd work, a considerably risky move for a comedian taping a comedy special. He interviews a couple on how they got engaged and another woman about receiving obscene penis photos from men. It’s in these segments where he displays his immediate comedic reflexes, quickly spinning jokes out of people’s answers. He probably has performed this a thousand times touring the country with this hour, but it still had a raw quality to it that brought genuine surprises. These were the highlights of the special.

There’s one portion where Aziz boasts how many white women he beds to argue how pointless it is for people being against interracial dating. I agree with his point. I don’t even like the word ‘interracial’ as a concept. But the fact that he put himself above the audience for a laugh seemed off color for a moment.

Part of the fun of following an artist is watching them grow. For that reason, fans that have watched Aziz’s two previous specials will probably enjoy this one more. This is Aziz Ansari’s best comedy hour thus far and he knows it. He has found meaningful things to say and more clever ways to deliver them.

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The Heat by Paul Feig

The Heat by Paul Feig

An uptight FBI Special Agent is paired with a foul-mouthed Boston cop to take down a ruthless drug lord.

The Heat is a comedy that brings both familiar and fresh genre elements. The buddy cop movie elements are the familiar portion, but what’s fresh is the comedy pairing of Sandra Bullock and Melissa McCarthy. Most notably, it’s a buddy cop movie that stars two women.

Melissa McCarthy is a living comedy engine. The key to her performance is that she’s not approaching the part as a comedienne, but as a dramatic actress as well. She delivers every line like her character is totally serious. The story is partly about the social classes in Boston and it is established that McCarthy’s Mullins comes from a tough Boston neighborhood. She incorporates that into her performance. In a lesser actress’s hands, it would have been raunchy for the sake of being raunchy.

Sandra Bullock plays social awkwardness well and a good straight man to McCarthy. Again she brings her charming personable star quality and it’s hard not to like her for being so self-deprecating. This role has a similar arc to her character in Ms. Congeniality – an uptight by-the-book cop who needs to learn to let go. Suffice to say, Bullock and McCarthy make a great comedic duo.

The action scenes take a back seat and comedy is the main priority. The entire cast is full of comedians and comedy-capable actors. Standup comedian Bill Burr, Jane Curtin and Marlon Wayans add a variety of comedy dimensions with their supporting roles. Thomas Wilson, famous for being Biff in the Back to the Future films, as Melissa McCarthy’s emasculated police captain brought a huge gaping smile on my face. It was like watching Biff being upstaged in an alternate timeline.

Bridesmaids 
director Paul Feig understands that there is no moral barometer for comedy and isn’t afraid to risk bad taste for laughs. They hold nothing sacred here. There’s a running gag with an albino that had me in stitches. Underneath all the comedy, the movie is subtly about women working in a male-dominated workplace. I like how the film stays true to this concept. There’s no love subplot with a male suitor and it even draws comedy from women dealing with misogyny.

A great deal of improvisation was done in the comedic scenes. Despite of that, the film is well edited. The comedy never stops the story from moving forward and it seems a lot of comedy babies were killed in the editing room. I laughed consistently throughout the entire film. It’s a well made comedy by people that like and understand its workings. Now that they’ve announced a sequel, I look forward to that as well.

2 Guns by Baltasar Kormákur

2 Guns by Baltasar Kormákur

2 Guns by Baltasar Kormákur

A DEA agent and a Naval Intelligence officer find themselves on the run after a botched attempt to infiltrate a drug cartel. While fleeing, they learn the secret of their shaky alliance: they are both undercover agents.

2 Guns is reminiscent of buddy cop movies in the late eighties and nineties. Unlike a lot of recent throwback 80’s action films, it tastefully retains much of the fun factor by concentrating on character and dialogue and removing some of the modern tropes that have gone stale, like the oversaturation of pop culture references. With its setup and buddy dynamic, at times it actually reminded me of the 1996 Adam Sandler and Damon Wayons buddy cop movie Bulletproof.

What elevated 2 Guns from standard action fare were exactly the snappy dialogue and the buddy dynamic between Washington and Wahlberg. The two lead actors create a believable long-time friendship and it gave the movie a sizzling charm that you just can’t look away from. Watching Walhberg and Washington rapidly throw zingers back and forth alone made the price of admission. After seeing his facetious performance in this film, it’s easy now to imagine Mark Wahlberg taking over the role of Tony Stark in future Marvel films.

The film has a good supporting cast. James Marsden and Edward James Olmos seem overqualified for these supporting roles. It’s nice to see them but they have too little time to truly shine. Paula Patton is cast in a seemingly intelligent female role, but is ultimately there for her sex appeal. Bill Paxton is the only one who gets to properly chew up some scenery as a scary CIA agent with a flair for torturing his victims.

The story moved along fast like a shark, for fear that stopping for a thoughtful pause would ruin its momentum and shatter the illusion of how complicated the plot seems. The action scenes are fun. More importantly, they are visible and you can follow what’s going on.  When it came to the finale, the film said “Screw it!” to all the dramatic buildup from the first two acts and serves a lesser solution to its conflict.
 Had it been a slower moving story with less charming leads, I would have considered the finale a cop out ending and been pissed.

But this time, I just went with it. I’m a sucker for buddy cop movies. 2 Guns just oozes old school charm, and charm can go a long way.

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