Monstro and I watched Superbad on DVD from Netflix last night. We both were looking forward to it, but I was disappointed.
“It's what Judd Apatow does,” I said. “Knocked Up was funny for the first ten minutes and then it, uh, wasnt.” The “Munich=Jewish action heroes” bar conversation is the funniest part of that movie, before even Seth Rogan meets Kathryn Hegguhlll (that's how I pronounce her last name; want to fight about it?).
In the now-trademark Apatowesque style, Superbad's opening Cera/Hill conversation is great, and when Seth (love that Rogen named the main character after himself; writer's privilege!) goes off on his teacher about cooking Tiramisu, it's hilarious AND there's a deleted scene in the extras where the teacher gives it right back to him, BUT, overall, the film was floppy and bland.
It's too bad, because I've long held forth that Michael Cera is the best actor on Arrested Development, and Jonah Hill was great in The 40-Year Old Virgin as the weird kid who tried to buy the goldfish boots. Instead of evolving their characters, though, it lapsed into challenge-response. The movie was so focused on the external that their internal relationships imploded and the comedy faded away, poof.
The minor narrative was about the disconcertingly street-unsavvy, dumbass geekguy who gets a fake ID with one name that says he's 25. He separates from the duo and immediately bangs into two cops; cops who are at first stupid, then get stupid drunk for the rest of the movie. Are stupid drunk cops funny? Scary, sure. But funny?
Scary don't jibe with the funny. Now, the Grotesque and comedy, duh, of course. (Hey Harvey! I miss you!)
scary + funny = creepy
The Cable Guy creepy. Yick.
So, where's Motormouth's breakout comedy screenplay? Place your bets! Or comment. You know. Whichever.
And, hey, Kath-er-ine, Happy Basel New Year! Your life is amazing. I can't imagine what your passport looks like.