“Dazed and Confused” (1993) dir. Richard Linklater

Of all the high school movies I’ve seen (good and bad), “Dazed and Confused” is the closest approximation to what I actually experienced.   No, not because of the smokin’ and tokin’ or ritualized hazing.  But more because the film is arguably the least sensational film ever made about teenagers.

Think about it, half the movies about teenagers are either leaden with doom and gloom (“Rebel Without a Cause,” “Kids,” “River’s Edge”).  The other half portray teen life to be a non-stop hedonistic Bacchanalia of sex, drugs, booze, etc.  While the characters in “Dazed” certainly party, the party in question is just a simple beer bash with one keg where the usual things happen: some people get into fights, some people hook up, some people act like fools, though most of the partygoers don’t do any of these things.  At the end of the party (when the booze runs out), most people go their separate ways and that’s that.  Nothing life changing happens, no character dies to show us that “partying is bad,” nobody gets laid and becomes a different person, and interestingly, no sense that this party changed any lives, good or bad.  It’s just … over … and on to the next day.

The next time you watch “Dazed,” carefully look at the way it’s edited and shot.  While the film has a lot of comedic moments, there’s an odd sense of dread permeating the entire film.  Canadian film critic Robin Wood was the only person to describe it as a horror film and Linklater apparently wrote him a personal “thank you” note for noticing this.  The dread that I get from “Dazed” has more to do with the sense that what lies ahead may not be as cool as the characters think it will be.   There’s a lot of sequences that are shot in slow motion with sound mixing that doesn’t look anything like you’d see in a comedy.  In my mind, the sense that nothing ever changes and/or necessarily gets much better is horrific enough for Linklater, that showcasing a death or OD or some other traumatic event would be overkill.

The other interesting thing (and why it reminds me so much of my youth), is the distinct lack of rigid divisions between cliques.  Certainly, cliques exist in both “Dazed” and the high school I went to.  But most people I knew may have belonged to a certain group, but most mingled freely with others.  A lot of high school films, from “Mean Girls” to “Heathers” to most of John Hughes’s oeuvre portray a caste system worse than India’s and maybe that’s true for some schools, but it wasn’t my high school experience.  Maybe I’m seeing a rosier past that I actually experienced, but I remember seeing “The Breakfast Club” and “Pretty in Pink” when I was a teenager, and while I could identify with certain things, a lot of it seemed like alien territory to me.

The attached trailer gives a decent flavor for the film, but it’s regretful that it’s played up like a Cheech and Chong comedy.   Granted, I wouldn’t know how to market this thing either (complex works of art usually are), but I think the advertising campaign gave a false idea of what this movie was and I think this is why it took a LOOOOONG time to find an audience.   Thankfully, it did.

“Young Adult” (2011) dir. Jason Reitman / scr. Diablo Cody

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One of the best and most underrated comedies of late is Jason Reitman and Diablo Cody’s 2011 film “Young Adult”. Far better than their previous collaboration (2007’s “Juno”), “Young Adult” boasts Oscar-worthy performances by Charlize Theron and Patton Oswalt and is far more complex than its (fairly funny) preview would make you think.

The plot does seem sitcom simple: high school queen bitch who made good goes back to her hometown under the delusion she can get her now-married boyfriend back. However, while Theron does play a fairly rotten human being, it’s far from a one-dimensional portrayal. Like everyone else, her character has had her share of disappointments and heartbreak. Theron does make you feel for her, even though (as said earlier) her character is pretty awful.

Conversely, the people around her (who would normally be her straight, normal foils) are not let off the hook, either. While they are much better people than Theron’s character, Cody shows that they have their own human moments, as well. Patton Oswalt’s disabled character drowns his bitterness in booze and self-pity. Her otherwise nice and easy-going ex-boyfriend has a subtle, but unmistakable moral lapse. Even her ex-boyfriend’s wife, who is seen as flawless, has her own issues. If not, then why would she invite her husband’s bitchy ex-girlfriend to her baby shower unless it was meant as a subtle (or not-so-subtle) “f–k you”?

All of this may sound heavy handed, but Reitman/Cody handle it in a wonderfully subdued manner. One of the film’s strengths is how so much detail is conveyed about each character without calling attention to it. It’s not what I would call a “feel-good” comedy, but it’s often hilarious in a “hide your eyes and cringe” kind of way. If you’re a fan of Larry David or Louis C.K., you’ll probably dig it.

“Death to All But Metal” – Steel Panther / “Rattler Way of Life” – Rattler

Metal parody may not be the most original of comedy genres, considering that Spinal Tap and GWAR cornered the market on it 20 years ago and director Penelope Spheeris demonstrated metal was kind of beyond parody with her classic documentary “The Decline of Western Civilization Part II.”  However, here’s a couple of bands that are keeping the genre alive quite well.

The first clip from Steel Panther has been kicking around for a few years, which of course as a 40-something suburban Dad, has completely escaped my radar.  However, this is really funny stuff, though quite profane, so not safe for work.

The second is from a DC area band called Rattler and is the best metal ballad parody I’ve ever heard.  Like Steel Panther, this is hilarious, but not safe for work due to language and substance abuse.

“Louis C.K. IS Lincoln” – SNL (2012)

http://www.nbc.com/saturday-night-live/video/directors-cut-lincoln/1422712/

I don’t know, but SNL keeps hitting it out of the park this season.  If you’re a fan of Louis C.K. or his show “Louie” at all, this is one of the most inspired mash-ups I’ve ever seen.  Beyond totally f–king funny!  I will let this clip speak for itself.

“Used Cars” (1980) dir. Robert Zemeckis

At one point in the distant past (over 30 years ago), director Robert Zemeckis was one of the funniest, weirdest, and raunchiest comedy film directors around.  While “Back to the Future” sent Zemeckis and his co-writer Bob Gale onto greener commercial pastures, “Used Cars,” from 1980, was the highlight of Zemeckis’s (and Gale’s) career.  An unapologeticaly politically incorrect tale of corruption and sleaze with a scumbag (albeit with a heart of gold … or at least bronze) as its hero.  And seriously, F–K Snake Plissken!  Kurt Russell was never better than he was playing sleazebag used car salesman Rudy Russo.  Zemeckis and Gale split up professionally and Zemeckis involved himself with increasingly commercial, but blander projects (“Romancing the Stone,” “Forrest Gump,” “Contact,” and the extremely disturbing-looking computer animated film “Polar Express”).  Yes, I’ll admit the first “Back to the Future” film has its charms, but “Used Cars” was THE BEST Zemeckis and Gale film.   Let’s pour some wine on the ground in honor of what Zemeckis could have been as a director, a wonderful cross between Preston Sturges and John Waters (and if you don’t think that concept is golden, then f–k off!).

“The Hollywood Knights” (1980) dir. Floyd Mutrux

Of all the raunchy nostalgia comedies to ride the wave of success of “National Lampoon’s Animal House,” “The Hollywood Knights” is probably the best.  Featuring Michelle Pfeiffer, Tony Danza, Fran Drescher, and last, but certainly not least, Robert Wuhl as the immortal Newbomb Turk when they were young and unknown, “The Hollywood Knights” is one of those rare movies that may not be particularly good in the traditional sense, but every time it’s on, damn if I’m not watching it beginning to end.  Which, of course, means it’s totally f–king great.  Someone posted the entire movie on YouTube, so watch it before the copyright holders get wise to it.  And because of nudity, language, and severely raunchy R-rated humor, not safe for work.

RIP, Herbert Lom

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I missed this one a couple of days ago, but I just wanted to pay tribute to one of my all-time favorite character actors. I remember first seeing Lom when I was 5 years old in “The Return of the Pink Panther,” playing Peter Sellers’ Inspector Clouseau’s character’s long-suffering boss Chief Inspector Dreyfus. He was quite good in any number of movies he appeared in, but in addition to Dreyfus, my favorites are the original “Ladykillers” from 1955, his KGB spy in “Hopscotch” (1980) and as the kindly neurologist in David Cronenberg’s “The Dead Zone” (1983).

Here is one of my favorite Lom / Dreyfus scenes, from the opening of 1976’s “The Pink Panther Strikes Again.” Dreyfus is leaving a mental hospital after being driven mad by being Clouseau’s boss, but goes off the deep end again after running into Clouseau. This is a bit slapsticky (director Blake Edwards’s stock in trade), but it still brings a smile to my face.

“Fear of a Black Hat” (1994) dir. Rusty Cundieff

The cultural success of 1984’s “This is Spinal Tap” unleashed not only several films, but an entire genre we now know, sometimes love, and sometimes loathe, called “mockumentary.”  Some of the mockumentaries that have followed in “This is Spinal Tap”‘s wake have been good, some bad.  “Fear of a Black Hat” is on the good end of things.  Granted, it’s not a perfect movie and it’s very uneven, but it’s also quite funny, intelligent, and charming.  And if you watch it more than once, it will definitely grow on you like many good comedies inevitably do.  I remember reading about this in “Film Threat” magazine back in 1993 and when it hit one of my local theaters in the spring of 1994, I was intrigued enough to check it out.  I think it was a test release, since it didn’t get national distribution until later that summer.  I remember being one of two paying customers in the theater (and the showtime was a discounted matinee) and I remember liking it a lot.   I saw it many months later when it came out on video and liked it even more.  The attached trailer seems a little corny by today’s standards, but don’t let that dissuade you from checking it out.  It’s a solid mockumentary.  And trivia note: the beautiful female interviewer is Kasi Lemmons, director of the brilliant “Eve’s Bayou,” “The Caveman’s Valentine,” and “Talk to Me”.  (Sorry, I have a bit of a crush on Ms. Lemmons)

Cundieff popped up later on Michael Moore’s 1990s show “TV Nation” and has been involved with many great comedy TV shows, from”Chappelle’s Show” to “The Wanda Sykes Show.”  Cundieff’s a very funny man.  Let’s hope he gives us another feature soon.