In a new and weekly series, I will put film-related people on trial for varying Crimes Against Cinema. On trial this week: The New Millennium Softies.
What happened? Was it Y2K? Did the scare force these people to re-evaluate their lives, their purposes? Whatever it was, something seems to have turned a group of once-great and once-gutsy film comedians into a bunch of softies, and it all seemed to start at the turn of the millennium.
Starting out with one of the dumbest-yet-funniest films I’ve ever seen (and one that has a place in Pacheco Lore), the Farrelly Brothers shot into the stratosphere with 1994’s Dumb and Dumber. Along with Kingpin (1996), the Bros. proved that no common denominator was too low, as these films were raw, stupid, and gutsy.
Then came what I consider to be one of the best comedies of the last decade, There’s Something About Mary (1998). It combined low-brow humor, high-brow humor, a great cast, insane characters, and just plain good filmmaking (don’t believe me? Go back and watch it again. Look at some of the technical aspects, especially the cinematography; it’s low-key, but when noticed, it can be appreciated as the work of talented filmmakers). What I love about Mary (or other Farrelly greats), is that, just when it feels like it’s entering the land of cheese, just when it feels like we’re gonna get a hug and a sappy ending, someone literally gets shot. That’s how you end a comedy.
Then after the new millennium, something began to happen: the Farrelly Brothers went soft on us. We started receiving films like Osmosis Jones (2001). The same year’s Shallow Hal, while having its moments, felt lame and weak; since when do Farrelly movies have emotional epiphanies and sappy endings? I want my raw, insane comedy back! Do I have to mention 2003’s forgettable Stuck on You or their last effort, the funny but watered-down Fever Pitch (2005)?
Heck, I’d even take 2000’s Me, Myself, and Irene; it was a miss, but it was as bawdy and fearless as the Farrellys have ever been. Could it be that the financial and critical failure of Irene rattled the Brothers, scaring them into “safer” territory? Or was it the Y2K scare? All I know is that the kings of gross-out stepped down from their throne long ago.
Verdict: Guilty
Oh, I know what you’re thinking. “Hey, Jim Carrey’s been doing good stuff! Look at Eternal Sunshine!” Yes, friends, his dramatic work has been getting better (for the most part), but here we are speaking of raw, insane comedy (RIC for short), and a case can be made against Mr. Carrey. Again, after Me, Myself, and Irene, the new millennium has brought feeble comedies to Jim Carrey’s doorstep. Bruce Almighty (2003)? Fun With Dick and Jane (2005)?
You remember that scene in Dick and Jane where Carrey sings “I Believe I Can Fly” in the elevator? He starts out mumbling it a little, slightly swaying back and forth with a few wrong lyrics coming out of his mouth. That was funny. Then the scene went in the wrong direction with him jumping and dancing around, belting out the tune. This is not the type of comedy that you should let Carrey go wild with. The man is talented, give him something insane.
Look at Ace Ventura (1994): he gets to make faces, have funky hair, dress like a ballerina—it’s absolute bedlam! Anything else by comparison looks tame. Let the guy literally beat the snot out of himself like in Liar Liar (1997). He pooped in someone’s yard in Me, Myself, and Irene! A little far, I’ll admit, but I’ll take that over a safe-player any day of the week. Bring this guy back to when he was insane. Insane.
Verdict: Guilty
Ah, the Sandman. Which Sandler comedies would you rather see: Billy Madison (1995) or Click (2006)? Happy Gilmore (1996) or Anger Management (2003)? Heck, I’ll even take Big Daddy (1999) over 50 First Dates (2004) if I had to. Honestly, when did we start substituting classic lines with hammy trash like “Family, family… Family comes first.” So profound, Mr. Sandler, and done in a such a subtle and skilled manner! No offense, but I’ll take the idiocracy of Billy Madison any day of the week:
KID
Mortal Kombat, on Sega Genesis, is the best video
game ever.
BILLY
I disagree, it's a very good game, but i think
Donkey Kong is the best game ever.
KID
Donkey Kong sucks.
BILLY
You know something? YOU SUCK!
Or my favorite:
BILLY
Well, I made the duck blue because I'd never seen
a blue duck before and I wanted to see one.
MISS LIPPY
Well, I think it's an excellent blue duck.
Congratulations Billy, you just passed the first
grade.
BILLY
Wow, Miss Lippy, that's great. What do you think
of that Mr. Blue Duck?
(pretending to be duck)
That's quacktastic.
In my opinion, this is an open-and-shut case. Post-millennium, Adam Sandler has been nothing but soft, which is in direct violation to his previous dedication to RIC.
Verdict: Guilty
Ben Stiller has made his fair share of lame duds, no doubt about it (I still can’t believe I actually watched 2004’s Along Came Polly). But was Stiller ever a student of raw, insane comedy? Perhaps not to the extent of the other suspects, but yes, he was. Directing The Cable Guy (1996), starring in There’s Something About Mary, having an appearance in Happy Gilmore—even though it consists of a lot of cameos, his work is fair game.
But what about post-2000? I completely forgot about Duplex (2003) and Envy (2004), and I think Stiller would prefer that. Yet, there are some shining beacons. Cameos on Anchorman (2004), Arrested Development, and even Curb Your Enthusiasm all speak well for the man, but what solidifies him as a new millennium keeper of RIC is the untouchable Zoolander (2001). Can anyone argue that his male model opus is anything but insane and low-brow? Zoolander has garnered so many brownie points for Stiller that the debts posted by his post-millennium flops have all been paid in full…for now.
Verdict: Not GuiltyJonathan Pacheco dabbles in web development, veganism, and the occasional polyphasic sleep cycle. Learn more.
Should I feel guilty about liking a Levi’s campaign? Does it exhibit merit or am I merely being played?