Posts Tagged ‘Jonah Hill’

Moneyball: The Art of Filming an Unfair Game

Brad Pitt as Billy Beane

Three names go conspicuously unmentioned in the new film adaptation of Moneyball: Tim Hudson, Barry Zito, and Mark Mulder. There are two ways to react to this omission.

The first is to think that their exclusion is unacceptable for a film that purports to tell the story of the 2002 Oakland A’s. After all, the trio combined to win 57 games and pitch 675 innings to a combined 3.05 ERA that year. Zito in particular led the league in wins, en route to a Cy Young Award. Without those three, a team that won 103 games would have almost certainly missed the playoffs.

The other way to react to their absence, though, is to realize that it is entirely appropriate. Moneyball is not really a movie about the 2002 Oakland A’s—it’s a movie about Billy Beane (played by Brad Pitt) and his radical reinvention of the game. And it doesn’t take much reinvention to stick with a trio that was coming off a 2001 season in which they won 56 games and pitched 678 innings to a 3.43 ERA.

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Top Ten Things To Be Excited About In The Fall TV Season

It’s time for my third annual installment of this laboriously titled NPI feature! And, man, was compiling this year’s list difficult. Not only is this fall season following an unusually impressive summer in TV, with Breaking Bad, Louie, Curb Your Enthusiasm, Pretty Little Liars, and Rivals all airing solid to great seasons, but the shows premiering over the next few weeks do not look especially promising. After all, does Whitney Cummings really need two new shows? As usual, some old favorites are off the list, either due to a decline in quality (Dexter) or senescence (Friday Night Lights). In their place, though, are shows I am not at all confident in labeling “exciting.” Anyway, with all that hedging out of the way, on with the list:

10) Hope Solo on Dancing With The Stars Premiered September 19 on ABC

For normal people, who don’t have the same crush on Hope Solo that I do, this probably isn’t that exciting. And while I won’t be watching DWTS, I will be looking up Hope’s performances on YouTube… Continue reading

Aught Lang Syne: The Ten Funniest Movies of the Decade

Yesterday we gave you the definitive list of the funniest comedians of the decade. Today, NPI continues its look at the comedy of the Aughts by looking at the ten funniest films of the decade. Evaluating comedies can be tricky. Is the sheer number of laughs more important than the overall quality of the movie? This list aims to balance those concerns: It is a list of the funniest films, and not the best comedies, but at the same time, the best comedy often comes out of a good story. So what is the funniest film of the Aughts? Well, here’s the list:

10. Meet the Parents (2000)

Time has been a little unkind to Meet the Parents. An unfortunate sequel, the overexposure of Ben Stiller and Owen Wilson, and a rather disappointing decade from Robert De Niro all conspired to reflect poorly on this film. These considerations, however, are generally unfair; they ignore the fact that Meet the Parents was one of the Aughts’ first great comedies and that Stiller was one of the best comic actors of the first part of the decade. Meet the Parents showcased his ability to play the understated, slightly belligerent everyman that he would later tone down to a bland, traditional romantic comedy lead. This, combined with De Niro’s excellent and persistent deadpan, led to some truly great comic scenes, like the discussion of “Puff the Magic Dragon” in the car and the lie-detector scene. Continue reading

The Invention of Lying: A Review

Lying Ricky Gervais“It’s funny because it’s true.” We’ve all heard this statement and variations of it before. The truth is funny.

Well, Ricky Gervais has decided to turn this comic principle into the premise for his new movie. The Invention of Lying takes place in a universe in which nobody on Earth has ever told a lie. No lies, no mistruths, no fictions, no deception.

The first few scenes, which basically just lay the groundwork for such a universe, show just how durable this premise is. Gervais picks up a date who announces: “I’m disappointed and pessimistic for our date tonight.” He watches a commercial for Coke in which a pitch-man says, “I work for Coca-Cola and I’m asking you to please not stop drinking Coke” and uses the slogan “Coca-Cola: It’s very famous” (Pepsi’s slogan: “When They Don’t Have Coke”). He writes “scripts” that are basically just descriptions of historical events for Lecture Films (“Nobody wants to see a movie about the Black Plague.” “I got the 1300s! What do you want me to write about?”). All of these scenes are good for at least a few laughs. Continue reading

What Happens to Funny People?: A Review

“You know what would make a good story? Something about a clown who makes people happy, but inside he’s real sad. Also, he has severe diarrhea.” —Jack Handey

 This Deep Thought—if you replace the word “diarrhea” with “leukemia”— kind of sums up the conceit of Judd Apatow’s new film (technically only his third as director, but his influence as a producer/writer has been felt everywhere in comedies recently, from Pineapple Express to Superbad), Funny People: Adam Sandler plays George Simmons, a beloved but lonely comic on the verge of death, who befriends/employs an upstart comedian, Ira Wright (Seth Rogen).

Simmons is in some ways an analog of Sandler himself (an important difference, however, is that Sandler, unlike Simmons, is married with two children): A stand-up comedian turned star of popular, critically panned films—Re-Do, about a man-baby, Sayonara Davey!, about a white man living with a Japanese family, My Best Friend is a Robot, about, well, you can probably figure it out— that bear a certain resemblance to Sandler’s own filmography.

While these films bring Simmons fame, fortune and success with women, they don’t bring fulfillment, and when Simmons gets sick, the only person he tells is his new assistant, Wright; Simmons has no close friends or family he feels comfortable confiding in. The movie, then, presents Simmons as the proverbial “sad clown”: He makes other people happy, but not himself.

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