British rock journalist Nick Kent perfectly summed up pop music by nothing how the best rock combines the Byronic and the moronic. That uneasy mix of poetry and poses, swagger and stagger, makes rock and roll ripe for mockery -- and, with Walk Hard arriving on DVD this week, what better time to name a few great comedies that have mocked rock and punctured the pretensions of pop?

1) Walk Hard

Starring John C. Reilly as roots-rocker Dewey Cox, Walk Hard doesn't just stick a foot out to trip up Walk the Line; it also manages to spoof The Beatles, Brian Wilson, Elvis and much more. (Indeed, Walk Hard follows such a carefully-crafted timeline as it travels through pop music history, it almost feels like a second take on the brilliant, underseen Grace of My Heart, another film that spanned decades through musical styles.) With a brilliant supporting cast and Reilly's cement-headed self-centered performance in the lead role, Walk Hard is that rare parody that nonetheless still loves what it mocks.

Best Line: "Wait a minute, son: Dewey Cox has to think about his whole life before he performs. ..."

As Scott pointed out in his review, you need not fear that this week's Superhero Movie is another brainchild of Jason Friedberg and Aaron Seltzer, whose satanic perversions of the parody genre -- Date Movie, Epic Movie, Meet the Spartans -- have been terrorizing unsuspecting audiences every year since 2006. Superhero Movie was actually directed by Craig Mazin, a protégé of the Zucker-Abrahams-Zucker dream team responsible for Airplane! and The Naked Gun, and produced by David Zucker himself. But it, too, is plagued -- albeit to a much lesser degree -- by what's turning out to be the problem with the entire modern generation of spoofs going back to Scary Movie: relentless pop culture specificity.

The basest incarnations of this, of course, are the Friedberg-Seltzer monstrosities, which may be worthless as comedies but which could prove valuable to historians because they indicate precisely what dominated the American zeitgeist in the few months before their release. It's too generous to call these films' vulgar spasms "jokes," but to the extent that's what they are, they depend entirely on either audience members' awareness of US Weekly-type factoids such as Britney Spears' shaving her head or their recall of particular scenes and characters in recent box-office hits. That's not to say that these kinds of jokes can't be funny -- the problem with Friedberg and Seltzer, as others have pointed out, is that they think throwing something current on the screen ("Look, Paris Hilton!") constitutes humor. But they do limit comedies' universal appeal and staying power.