Best For Film’s newest writer Carl Anka demolishes his BFF cherry with an essay on why film comedy has never been, and will never be, as good as it was in the 1980s. Contains borderline-diabetic levels of John Candy.
When The Hangover took the box office by surprise way back in 2009 (was it really only 4 years ago?) most people were suitably impressed. It wasn’t particularly original, nor did it have uniquely memorable jokes, but it was fine enough in a period devoid of any other notable comedies. It gave us Zach Galifanakis, who we were all certain would go on and wow to world with his revolutionary brand of comedy. It gave us Bradley Cooper, now an Academy Award-nominated actor. It gave us hope that comedy film-making in general would learn that true comedy comes from reining the more colourful actors in and focusing on the straight man.
We’d disagree, but still…
Zach Galifianakis to be the focus of the concluding chapter in The Hangover’s epic quest to ruin comedy forever
Riddled with more polished, well-executed and genuinely laugh-out-loud comedic moments than many of its contemporary predecessors, as a showcase for veteran funnymen Ben Stiller, Vince Vaughn and Jonah Hill, The Watch is ideal. However, by trying to force square emotional pegs in round comic holes, The Watch suffers under the pressure to prove its legitimacy by incorporating a “depth” which is both unnecessary and poorly-executed.
He probably shouldn’t, but what the hell? You’re only 74 once!
Could do with a shot of Peter Capaldi, but…
Snipe London
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