JodyHill Tagged Articles at Cinematical

By Scott Weinberg (original publication date: 3/17/09 -- SXSW Film Festival)

I know it may seem sort of strange to get two "mall cop" comedies within two months of each other, but really: Aside from only the most tangential of plot connections, these movies couldn't possibly be more different. Paul Blart: Mall Cop is a flat, generic farce that feels like every studio comedy from the last 15 years. Observe and Report ... is a freaking revelation. Sick, dark, halfway twisted, and drop-dead hilarious, Jody Hill's Observe and Report is a dark comedy full of shocking moments and brave material, plus it's anchored by a lead performance that could change a whole lot of minds regarding Seth Rogen.

Set in a completely familiar shopping mall, Observe and Report is about a maladjusted security guard who finds himself with a new mission in life: Find the pervert who's been flashing women in the mall parking lot, and do it well before the cocky detective (played quite amusingly by Ray Liotta) has a chance to crack the case. Also to contend with: A bubble-headed blondie, as played by the funniest woman since Madeline Kahn (aka Anna Faris), an untrustworthy sidekick (a powerfully funny Michael Pena), and a perpetually inebriated mother who isn't all that good at the "nurturing" thing.

I'd heard Observe and Report once described as a "slightly lighter take on Taxi Driver-ish material," and while I don't really agree with that assessment, it's worth repeating because (and this should be made clear) Observe and Report is not a mainstream movie, a product of assembly-line filmmaking, or a churn-it-out contractual obligation. This is an aggressively unpredictable dark comedy that doles out violence, absurdity, and a strange sense of sincerity at (seemingly) random points -- and virtually all of Jody Hill's darts hit their intended target. As a tale of one schlub's (basic but legitimate) redemption, Observe and Report works more than well enough -- but if you opt to look a little deeper, and you will, you'll notice that Hill, Rogen and company are also mocking the most basic of Hollywood conventions at the same time.

So here's the $64,000 question: Are rape jokes funny? Jody Hill's Observe and Report has just gotten its first dose of bad publicity (not counting the Paul Blart: Mall Cop connection) thanks to a post in the NY Magazine's Vulture blog. They've posed the question: "Does Seth Rogen Rape Anna Faris in Observe and Report?" ... and, as you can imagine, this has sparked a debate among feminists and film critics alike.

Now if you've seen the Red-Band trailer for the comedy about a Travis Bickle-style security guard, you probably know what scene has caught the eye of critics. If not, here's a quick description: After a night of drinking and drugging, Rogen escorts a half-unconscious Faris (Brandi) to his home and the trailer later cuts to a scene in which Rogen is having sex with the incapacitated Brandi. Nice. When he hesitates, however, we hear a slurred voice pipe up with "Why are you stopping, motherf*****?" Guilt assuaged, right? I mean he's not raping her -- she's totally into it ... right? Well, I'll leave my opinion for a little later, but it seems like the answer at large has been a big fat whopping 'No'.

Over at Jezebel, fans have decided that Rogen and Hill have just gone too far, and that this is another in a long line of examples of the anti-woman stance today's successful comedies seem to be taking. But go for a stroll over past the New York Times and in their review of the scene, they acknowledge the rape, but also go on to say, "Before the scene is over she indicates that she had given her consent." Now Farris and Rogen have also participated in a little damage control regarding the scene in question, but unfortunately most of their answers have only managed to make it worse for those offended.

Glorious sunshine greeted festival attendees on Monday. The warmer weather pushed more people out onto the streets. Skirts rose along with the temperature, though blue jeans and t-shirts remained the predominant clothing of choice.

Deals. Oscilloscope Laboratories announced that it has acquired North American distribution rights to Gabriel Mendina's The Paranoids, which had its US Premiere at the festival yesterday. The Paranoids is described as an "offbeat comedy" about an aspiring writer in Buenos Aires, Argentina, who learns that a childhood friend has produced a very successful TV show in Spain based on the writer's life. Personal chaos ensues. Oscilloscope plans a theatrical release later this year.

Secret (and Not So Secret) Screenings. A large crowd woke up early to see a "super special screening" of Richard Linklater's period romance Me and Orson Welles, starring Zac Efron and Claire Danes. In the evening, another special treat awaited folks who squeezed into the Alamo Ritz: a 16mm print of a film that dare not speak its name (due to legal reasons). Hint: running time was listed as 43 minutes. No wagering, please.

Simultaneously, Jody Hill's Observe and Report, starring Seth Rogen, enjoyed its world premiere at the Paramount Theater. Early word via Tweeter has been very strong. Gerald Peary's doc For the Love of Movies: The Story of American Film Criticism, also debuted. It is, perhaps, too prosaic for a general audience, but it's essential viewing for anyone who wants to be a film critic (and for working film critics, too, for that matter). Bonus: our own Scott Weinberg makes an appearance!

Cinematical Coverage. Eric D. Snider, who never laughs at anything, laughed himself silly at the 20 minutes of footage shown from Sacha Baron Cohen's upcoming Bruno.

After the jump: more links to our coverage, plus some notable coverage on other sites.

SXSW jumped their own gun last night by announcing their line-up of film titles for this year's festival in Austin, TX.

Right around the ides of March, we'll be treated to the world premieres of:

• Best Worst Movie (all about the cult surrounding Troll 2 and supposedly containing an appearance by none other than our own Scott Weinberg),
• South By staple Joe Swanberg's latest, Alexander the Last,
• Gerald Perry's For the Love of Movies: The Story of American Film Criticism (Scott's in this too? WTF?!),
• John Hamburg's bromantic comedy I Love You, Man,
• Gary Hustwit's new doc, Objectified (go queue up Helvetica already!),
• Jody Hill's Observe and Report (because we can't all love Paul Blart: Mall Cop),

...and much, much more! Personally, I'm also psyched to catch up with Sundance hits like Grace, Moon, We Live in Public, Humpday, and a couple of others -- not to mention the U.S. premiere of The Hurt Locker and a special anniversary screening of Office Space (yes, Austinites, another one). All I'd otherwise beg for is 500 Days of Summer, but who am I to look a gift fest in the mouth?

SXSW '09 runs from March 13-21, and you can expect plenty of coverage around these parts.

Most critics didn't love it, but for the second week in a row, viewers streamed in anyway. Still playing at just two theaters, Joshua Seftel's comedy-drama War, Inc. (First Look), starring John Cusack, averaged $12,100 per screen to continue its reign at the top of the indie weekend box office chart, according to estimates compiled by Box Office Mojo. That gives it a two-week total of $78,700.

Among new specialty releases, Leonard Klady at Movie City News reports that Tom Kalin's drama Savage Grace (IFC Films) made $11,150 per screen at the two theaters in New York where it opened. Julianne Moore stars in a suffocating period piece about a twisted mother/son relationship. You can read more about it in the reviews by Nick Schager and Kim Voynar.

Jody Hill's comedy The Foot Fist Way (Paramount Vantage) opened in four theaters and earned $8,550 per engagement, according to Mr. Klady. Patrick Walsh offered up a mostly positive review on this "character study about a character you'd never want to meet," a children's Tae Kwon Do instructor who goes off the rails when his wife cheats on him.

Jeffrey M. Anderson described Giuseppe Tornatore's The Unknown Woman (Outsider Films) as "a restless, panicked, devastating emotional roller coaster, meticulously planned and executed like a razor." The film follows the travails of a woman who leaves the Ukraine to look for work in Italy. It made $6,000 at one theater in Manhattan.

I have a very good friend named Erik Childress, and he's a film critic who's pretty darn demanding when it comes to comedies. He doesn't chuckle easily, but when he finds a flick funny -- he's usually right on the mark. So let's flash back to Sundance 2006: I'd gone off to see something else, but when I met up with Childress for lunch, we had our normal conversation: "What'd you see, how was it, etc.?" And I distinctly remember Erik saying, through a mouth full of french fries, "Foot Fist Way. Surprisingly damn funny." I mentally kicked myself for missing it.

So now! Over two years later! Courtesy of Paramount Vantage, I bring you the first, the funny, the profanity-laden red-band theatrical trailer for Jody Hill's The Foot Fist Way. And, like Erik said about the movie, the trailer is surprisingly damn funny. If the lead knucklehead looks familiar, then you probably remember his brief-but-colorful moments in All the Real Girls, Hot Rod and The Heartbreak Kid. (His name's Danny R. McBride, by the way, and I'd call him the ONLY funny thing in that Heartbreak Kid remake.)

For those who can't be bothered to check out the clip (or are maybe under 18), the flick's about a really goofy Tae Kwon Do teacher. (Hey, the premise works well -- and often -- enough for Will Ferrell.) May 30 is when Paramount Vantage will unleash The Foot Fist Way, but for now you can feel free to peek through the official site and enjoy the R-rated trailer. ("Meditate on that." = hilarious!)