Bill & Ted's Excellent Adventure

Because I'm a good father, I sat my 14-year-old son down for Bill & Ted’s Excellent Adventure the other day.  Two observations: (1) Keanu Reeves and Alex Winter have excellent comic timing, and (2) this is the 'Doctor Who' adventure that never was.

Regarding the first observation: both my son and I laughed all through this wonderful movie.  This isn't one of those cynical pictures with two levels of humor (one for children and one for their parents).  Rather, it's a picture with simple humor done well.  Bill S. Preston, Esq. and Ted Theodore Logan are funny, sympathetic characters, and everything about their goofy attempts to talk themselves out of trouble (at the beginning) and save the day (at the end) is both winning and hilarious.  Their goofball schtick just never gets old.

Regarding the second: the entire premise is clearly a ripoff of then-defunct British television adventure series 'Doctor Who.'  Instead of the time-travelling Doctor’s iconic English police box, Bill & Ted's time-travelling mentor (George Carlin) uses an American telephone booth.  Instead of Gallifrey, Carlin comes from a future Earth that has found enlightenment through the teachings and music of the titular Bill and Ted.  This makes me happy.  In fact, until further notice, I choose to believe that George Carlin is the 15^th Doctor.

Y’know, I have fond memories of many films from my youth.  Very few hold up, but Bill & Ted’s Excellent Adventure does.  It’s funny, it’s charming, it’s optimistic, and it’s everything you could want in a time-travel team comedy.  

In short, on a scale of triumphantness, I give Bill & Ted’s Excellent Adventure the highest rating: most triumphant.

Cars

CARS isn't wildly funny or illuminating or anything else. It just sorta rocks along pleasantly for an hour and a half, content to be content in the journey.

Here's the setup: Lightning McQueen is *this close* to winning the coveted Piston Cup and making all his dreams come true. He's just gotta get to LA in time for the race and the meeting with the big sponsor and the fame and the fans and so on and so forth. But then he gets sidetracked, DOC HOLLYWOOD style, in a litte town on Route 66. Surprisingly, he learns some life lessons about community and selflessness, and he finds out that maybe what he wanted isn't what he wanted, at all. It's a fine chassis for a kids' story, and it works as advertised, with some particularly clever touches in the realization of an all-autos world. This is a Pixar production, so it looks fabulous and has all the marks of a precision machine. It hits its marks and, while not a masterpiece, it answers the mail.

What's more interesting is the trend to focus on the importance of sportsmanship and fair play in kids' movies that I've been noticing. It's a delightful change from the "2nd place is first loser" mentality that I see permeating much of popular culture and a message that's worth getting out there. There's nothing trite about class, and it's good to see that reinforced in popular entertainment.

The Aristocrats

Here's something you probably don't know about me: I have an incredibly vulgar sense of humor. When I'm hanging out in a ready room, I'll go lower faster than anyone there. The "Oh-my-god-I-can't-believe-he-just-said-that" laugh is a cheap laugh, but I'll take it any time.

In other words, THE ARISTOCRATS was right up my alley. For its first hour or so, the movie had me going from chuckling to guffawing to weeping to back again with hardly a letup. Then the movie made a fatal mistake: it gave us Kevin Pollack telling the joke as Christopher Walken, a performance so brilliant that no one - no one - could possibly follow it. By climaxing too early, the movie left me rather disinterested for the remainder.

But I was ready to watch it again five minutes after that.

PS One major disappointment: THE ARISTOCRATS gives us Shelley Berman (my favorite comedian) talking about the joke, but never actually telling the joke. I would've loved to have seen his take!

PPS My wife left the room after twenty minutes, so YMMV. I don't tell her ready room jokes, either.

PPPS Sarah Silverman: I don't get it. Who's Joe Franklin?

Jersey Girl

I liked JERSEY GIRL.

I shouldn't have. In fact, I should have hated it on principle. As near as I can tell, movies are made by some of the most ambitious, industrious, focused people on earth. In a business as cutthroat as the film industry, it takes extraordinary dedication to rise to the top. That's why it irks me when films say, "Hey, settle for second best - it's ok. The important thing is spending time with your family." Much as I may agree with the message, the fact that the messengers are a bunch of 14-hr-day espresso junkies strikes me as hypocritical, at best.

Ok, rant over. Back to the movie. Kevin Smith writes movies that are huge with the college demographic. He's big on drug and sex jokes, and he has a flair for the ridiculous. With 'Jersey Girl', he turns his back on that demographic, writing a story that comes from where he is today: a young father trying to juggle the competing demands of work and family. JERSEY GIRL is a more mature piece (well, it has fewer dick and fart jokes), and it's generally successful. Sure, it has some glaring flaws, such as George Carlin's entire performance, an extended rehash of the old "diapers are nasty" comedy formula, and a soundtrack that interferes with the film, rather than reinforce it. Nevertheless, it has a certain sweetness to it, Smith's dialogue is always a pleasure to hear, and it manages to erase the bad taste Liv Tyler has left in my mouth ever since ONE NIGHT AT MCCOOL'S. JERSEY GIRL may not have worked with the college demographic, but it worked for me.