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Featured movie reviews of of some of the latest comedy movies available on dvd. Some movies are also available on Blu-Ray and HD. To see
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Superbad
Hairspray
Striking a balance between raunch and sweetness is a tall order for any
film, but the Judd Apatow-produced Superbad manages to serve up both
in equal and satisfying portions without undercutting a consistent stream
of laugh-out-loud performances and gags. Michael Cera (the sublime
George Michael Bluth from Arrested Development) and unstoppable
scene-stealer Jonah Hill (Apatow's Knocked Up) are lifelong pals who
attempt to make up for years of obscurity by getting into one blowout party
before parting ways for college; an opportunity presents itself in the form
of Hill's crush, the lovely Jules (Emma Stone), who wants the boys to
bring liquor to her shindig. What follows is a combination road adventure
and coming of age story as Cera and Hill tackle crazed partygoers, a pair
of overeager cops (played by co-scripter and producer Seth Rogen and
Saturday Night Live's Bill Hader), and the hard truth about girls and their
own emotional bond. The humor is crass and occasionally gross but
never mean-spirited, and Cera and Hill offer believable performances as
guys wholly unaware of their own potential, yet ready to risk humiliation in
order to find out. They're well supported by a cast of Apatow regulars,
including Kevin Corrigan, Martin Starr, David Krumholtz, and Carla Gallo
(and Stone and Martha MacIsaac are terrific as their love interests), but the
film is completely shoplifted by newcomer Christopher Mintz-Plasse as
their uber-nerdy pal Fogell, whose fake ID handle is among the movie's
funniest gags. Classic funk fans should also keep an ear out for the score
by Lyle Workman, which features such James Brown and P-Funk
veterans as Bootsy Collins, Bernie Worrell, and Clyde Stubblefield. --Paul
Gaita: Amazon.com
It's rare that a movie captures the intensity and excitement of a live
Broadway musical production while appealing to a broader movie-going
audience, but the 2007 Hairspray is an energetic, powerfully moving film
that does just that. A remake of the 1988 musical film Hairspray, the new
Hairspray is a film adaptation of the 2002 Broadway musical and features
more likeable characters than the original film and an incredible energy
that stems from a great cast, fabulous new music, and the influence of
musical producer Craig Zadan. What remains constant throughout all
three versions of Hairspray is the story's thought-provoking exploration of
prejudice and racism. Set in Baltimore in 1962, the film opens with
chubby girl Tracy Turnblad (Nikki Blonsky) singing her heart out in a
rendition of "Good Morning Baltimore" that, while admittedly a bit too long,
sets the farcical tone for the film. Viewers quickly become immersed in
Tracy's teenage world of popular television dance shows, big hair, the
stigma of being different, and the first hesitant steps toward racial
integration within a segregated world. The Corny Collins (James
Marsden) television dance show is a teenage obsession in Tracy's world
and Link Larkin (Zac Efron) is every girl's dream partner, so when a call
for auditions goes out, Tracy skips school to try out, but is rejected by
station manager Velma von Tussle (Michelle Pfeiffer) because of her
large size and the threat of competition for Velma's own daughter Amber
(Brittany Snow). Perseverance and the support of her friend Penny
(Amanda Bynes), father Wilbur (Christopher Walken), and negro dancer
Seaweed (Elijah Kelley) lead Tracy to the spotlight and the chance of a
lifetime, but more and more Tracy discovers that fairness and equality for
those who are different does not come without a fight and that sacrifices
must be made to effect change. While the message is serious, Hairspray
is first and foremost a comedy with stellar performances by John Travolta
as Edna Turnblad (who ever imagined Saturday Night Fever's iconic star
would appear onscreen as a woman?), Christopher Walken, and Michelle
Pfeiffer. Part of what makes Hairspray so powerful is the exceptional
music composed by Marc Shaiman, including songs newly composed for
the movie like "Ladies' Choice," "The New Girl in Town," and "Come So
Far," and the awesome vocal talents of Queen Latifah (Motormouth
Maybelle) and a cast of heretofore musically-unknown actors like Nikki
Blonsky, Zac Efron, and Brittany Snow who really can sing. Notable trivia
includes Jerry Stiller's appearance in both versions of the film (as Wilbur
in the 1988 film and as Mr. Pinky in this 2007 rendition), and a cameo
appearance by 1988 director and screenplay writer John Waters.
Hairspray is one of the best films of the year--it's powerfully moving
entertainment that leaves you energized and motivated to fight for what
you believe in. --Tami Horiuchi: Amazon.com
Knocked Up
Rush Hour 3
Unwanted pregnancy might sound like a risky subject for slapstick
comedy, but Knocked Up is from writer-director Judd Apatow--so we are in
the hands of a man who likes to push things. And like Apatow's
predecessor, The 40-Year-Old Virgin, Knocked Up is a shaggy
crowd-pleaser, a comedy strewn with vulgarity but with a sweet heart at its
center. A one-night stand between the utterly mismatched Ben (Seth
Rogen, his first starring role) and Alison (Katherine Heigl) results in said
pregnancy, and the two people reunite for mutual support--even though
they barely know each other. Ben's a slob who lives with four other guys,
all of whom share the same stunted approach to maturity; Alison is a new
on-air personality at the E! channel. That these two eventually develop a
shared understanding and affection is perhaps the movie's biggest
stretch (some of the male-humor jokes amongst the guys are idiotic
enough to test anybody's hope of civilizing them).

Rogen and Heigl don't really jump off the screen, but, to be fair, the movie
frequently needs them to play straight while the supporting cast cuts up.
Virgin vets Leslie Mann and Paul Rudd are around to supply some humor,
as Alison's sister and brother-in-law, and the four idiots who live with Ben
(Jay Baruchel, Jonah Hill, Jason Siegel, and Martin Starr) are in their own
zone of sophomoric bad taste. Still, by 40-Year-Old Virgin standards, this
movie doesn't explode, and it sometimes feels ramshackle to the point of
not being thought out. Apatow's indulgence of actors creates some fine
moments (Paul Rudd seems to have most of them), but it can also make
a movie feel flabby, and this one is overlong by the length of a belly.
--Robert Horton: Amazon.com
Jackie Chan and Chris Tucker head for the City of Lights in the somewhat
threadbare but sporadically exciting Rush Hour 3, the second sequel to
director Brett Ratner's 1998 cop-buddy hit. Chan's Inspector Lee and
Tucker's Detective Carter hop from Los Angeles to Paris in pursuit of a
Chinese triad only to find a mixed reception, including a brutal warning
from a French cop (Roman Polanski) and anti-American sentiments from
a cab driver (Yvan Attal) who eventually becomes an important and funny
ally. Lee and Carter, when not fighting their way out of rooms full of martial
arts gangsters and crazed assassins (Sun Ming Ming), follow a trail to a
beautiful woman (Noemie Lenoird) who literally carries a vital clue on her
person. Lee also holds secret meetings with a United Nations authority
(Max Von Sydow), but his personal struggles with a criminal mastermind
(Hiroyuki Sanada)--who happens to be an important figure in his life—are
at the heart of this movie.

The aging Chan still seems to defy the laws of physics with some of his
more spectacular stunts. But it's true those stunts take a little more time
than they used to, and judicious editing makes Chan look spry as ever. He
frets charmingly in Rush Hour 3, while Tucker revives his brash
character's motormouth guile and whiny womanizing. There isn't a lot left
to be discovered about Lee and Carter's compatibility, and even with a
minor crisis over their loyalty to one another in Rush Hour 3, their all-
important relationship is almost too easy to take for granted now.
Fortunately, the film's biggest thrills come from several wild fight scenes,
especially a climactic battle on the Eiffel Tower that is rich in imagination. --
Tom Keogh : Amazon.com
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