Monday, September 29, 2008

Little Shop of Horrors (1986)

Uh Oh. A musical movie based on a stage musical based on a non-musical movie. Crazy Stuff. The stage musical is one of my all-time-favourites, so the movie version always feels a little lacking because of the songs that were cut and the Hollywood-esque ending (apparently the original unhappy ending didn't test well with preview audiences). However, it's still a good time with great performances by everybody involved plus extremely well-done puppetry (it was directed by Frank Oz, after all).

This is a story of the meek inheriting the earth, and unknowingly setting themselves up to be eaten by it. Seymour Krelborn (Rick Moranis, perfectly cast) is a mild-mannered, super-geeky flower shop employee. He pines after his coworker Audrey (Ellen Greene, who also starred in it off-Broadway) but unfortunately she's got herself into an abusive relationship with Orin Scrivello, DDS (Steven Marten, best part of the movie), feeling she's not good enough for a nice boy like Seymour. Their shop is on the brink of bankruptcy, mostly due to its location in the poor side of town, and Mr Mushnik (Vincent Gardenia- flower name? spooooky) is ready to shut it all down. Luckily, Seymour has discovered a strange and interesting new breed of plant whose size and fame grow symbiotically, soon making Mushnik's the most frequented flower shop in the area, and Seymour the most sought-after botanist. The problem for humankind is: the plant only wants blood, and finds its keeper gullible and diffident enough to kill in an effort to keep everything from becoming awful again. Pretty soon there'll be no stopping it! Or will there...?

Anyway, it's a classic guy-seeking-success-only-to-have-success-be-his-downfall-and-also-he-learns-that-love-is-all-he-actually-needs story. The music is really swell- sort of doo-woppy 50s rock composed by Alan Menken and Howard Ashman. The whole story is narrated/commented on by a Greek Chorus: three "street urchins" named after 50s/60s girl groups, who change costumes and dance around like crazy. Rick Moranis and Steve Marten do pretty good singing jobs, and while Ellen Greene sounds more professional, I have mixed feelings because she has an awkward switch from high pitched speaking voice to deeper singing voice. The cameos are great- look for John Candy, James Belushi, Christopher Guest, and Bill Murray! Overall it's a really fun movie and they did a decent job adaptation-wise, but don't expect the spectacular musical performances or badass destructive ending of the stage version.

Addendum written 2.5 years later: I will say it gets better every time I watch it, and by now I can kind of act out the entire film. No big deal.


"Suddenly Seymour"- Hunter Foster and Kerry Butler, from the Broadway revival in 2003 (I don't have the film soundtrack)

My original poster design for this film is for sale.


Sunday, September 28, 2008

BASEketball (1998)

Don't listen to what anybody says: This movie is hilarious. In every stupid, infantile, inappropriate, silly way. Directed by David Zucker (you know, the guy who's gone from making movies like this to making this) and starring Trey Parker and Matt Stone (you know, the guys who made that popular show), it follows two best friends who, fairly ignorant of their own immaturity and unsuccessful lives, invent a game that combines shooting hoops with base-running: Baseketball. Due to its average-joe appeal, it becomes a national phenomenon, and eventually Joe "Coop" Cooper (Trey) and Doug Remer (Matt) become owners of their team, The Beers. They get caught up in a plot by some evil guy (Robert Vaughn) to turn Baseketball into a commercial, money-based game like everything else. Also there are strains on their friendship. Also they like the same lady (Yasmine Bleeth, the worst part of the movie). The fairly simple plot leaves a lot of room for hijinks! And sight gags! And Reel Big Fish appearances!

Though they receive no writing credits, this is a very Trey/Matt kind of movie. I'm pretty sure most of their lines were ad-libbed. The fact that they got a special part written for their friend Dian Bachar also shows how much influence they had over the script. The game of Baseketball includes "psych-outs", which are defensive tactics a team can take to stop the shooting team from making baskets. Trey and Matt employ a lot of weird and gross psych-outs- hard to explain out of context but really funny in the movie. An added bonus is Jenny McCarthy as the ditzy-but-sexy heir to the Beers team. It is a pretty ridiculous, over-the-top, in many ways offensive movie, but it does not at all expect a lot of thinking to go into watching it. It's just really fun and underrated, and never fails to make me laugh. Could be because I idolize Trey Parker, but does it really matter why?


"Psyched Out"- The Supersuckers
"Take On Me"- Reel Big Fish (video)
"Warts On Your Dick"- DVDA/Trey and Matt's band (video- scene from the movie, watch out for Butts)


Wednesday, September 24, 2008

The Life of Oharu (1952)

Well we might as well let the cat out of the bag here people (what?). I'm an art history major, and as a result I'm taking a fascinating seminar on Ukiyo-e, or "Art of the Floating World" during Edo Period (1615-1868) Japan. We're covering everything from literature to theater to prints to erotica, so it's a bit overwhelming but really cool. We have several films to watch as part of the class- either depictions of the time period or influenced by it. The first of which was The Life of Oharu, based on "The Life of an Amorous Woman" (1686) by Saikaku (Japan's main literary innovator of the time).

First, a bit of background. The text on which this is (loosely) based takes the form of an old woman telling her life story as she moved from occupation to occupation propelled by lust. She slept with hundreds of men, had many abortions, caused some suicides, and ruined several relationships (of other people, that is). She's shameful of a lot her actions, but also very open and excited about her passion and her experiences. It is pretty sexist but at the same time interesting in its depiction of a strong-willed, very independent working woman, following her desires in the 1600s.

This very long film draws a few exact scenes from the story and has the basic idea of following a woman who sinks lower and lower in her profession until she is an unlicensed prostitute, but the central character and overall tone is completely changed. She is now innocent and reserved, sleeping with many men generally because they force her or as a way of making money (her father is in great debt); nothing is done out of passion. A minor plot about a son she is forced to bear but unable to see is added, eliciting one or two watery eyes from yours truly. The beautiful, careful visuals soften everything even further. Because this pathetic life has been thrust unfairly onto someone so passive, the film is more sympathetic than the book (whose narrator was often self-referentially despicable). It's also more tied together. The book is more a collection of reminiscences, with little sense of linearity. In the movie we see Oharu age and be affected by her past. She is more relatable, but also more stereotypical.

You can see I have mixed feelings. Saikaku's story bothered me because of the weird juxtaposition of an independent woman who was misogynist (the result of a sexist man writing a female protagonist, I guess?). The movie bothered me because of how generally passive Oharu is. Overall it's still a really beautiful film and an interesting glimpse into the position of women in Edo Period Japan.
Kinuyo Tanaka's performance was highly praised, and I was impressed with her ability to portray so many ages and to wholly carry the film despite not having a great amount of dialogue. Plus it won some awards! I think it was the first film from Japan to be internationally acclaimed, or entered in the Venice Film Festival, or some landmark of the sort (anyone who knows the specifics, please tell me). Also Mizoguchi is a pretty prolific, big deal Japanese director so I guess it's important if your interest is non-Western cinema. Basically, watch it only if you're into this sort of thing.


Monday, September 22, 2008

Hal Hartley Double Feature: The Girl From Monday (2005) and The Unbelievable Truth (1989)

You all might as well know that I have a pretty serious thing for Hal Hartley films. I don't know whether it's the highly choreographed conversations, the puzzling character motivations, the liberating musical scores, the frequently re-appearing actors, the grainy cinematography, or the way everything seems to work out, but not really, and how each story seems like it still has so many places to go. I'm sure it's some combination of everything. His films affect me like no one else's, and I can't compare them to anything. Continuing my journey through his collection of movies and shorts, the other day I settled on The Girl From Monday, his most recent before Fay Grim and his only foray into science fiction. It's also his least well-liked, if IMDB ratings are any indication.

Shot in loose, blurry, hand-held format, The Girl From Monday has an anxious, uncertain mood that's perpetuated by the ambiguity and confusion of the plot. Set in a not-too-distant future where people are considered stocks and everyone has a barcode tattooed on their arms (showcasing their status as consumers), the story is narrated by Jack (Bill Sage), the inventor of this human-based market. People sleep with each other to increase their personal value, making sex for pleasure odd and "barbaric". All pretty Brave-New-World-ish. Jack is feeling uncomfortable with the world he's helped create and ends up secretly leading "Counter-Revolutionaries", mostly teens who are anti-consumerism and pro-sex-for-fun. He ends up dragging coworker and crush Cecile (Sabrina Loyd) into their illegal activity. Simultaneously, a strange and beautiful woman (Tatiana Abracos, in her only film role to date) appears and ends up staying with Jack. She helps him unlock some buried secrets of his past and also enacts a subplot about alien life.

Overall it's entertaining, funny, and has a good cast. The experimental cinematography was a little off-putting but interesting. The story was kind of shoddy, but the concepts were good. I can see why this is one of his lesser films, but at the same time it still satisfied my need for Hartleyesque storytelling.


Finding myself with some time on my hands after The Girl From Monday, I decided to follow it up with another Hartley movie, one of my favourites: The Unbelievable Truth. His first film, it follows serious, ex-con-turned-automechanic Josh Hutton (Robert John Burke) as he tries to start a new life in his old town, surrounded by people who think he's a mass murderer. Meanwhile, Audry Hugo (Adrienne Shelly) is a highly intelligent, gorgeous high school senior with constant fears of world wide nuclear destruction. She starts to fall for Josh but is thrown off by his alleged past and by her father's threats against the relationship. Eventually she ends up working successfully as a model to make money for college as Josh grapples with his inexperience with women, among other things. Various characters interact and intersect, truths are revealed, deals are made, conversations are repeated, and everything is pretty swell.

This movie is awesome. Unfortunately it is a little bittersweet as each viewing of it re-awakens my sadness over Adrienne Shelly's death. Also when will it be released on DVD already? Sheesh. Not that I don't love watching the trailer for Black Magic Woman on my VHS copy (seriously, it is pretty damn hilarious- just look at the tagline), but come on guys. Let's give Hal Hartley some high-quality, extras-ridden love.



Friday, September 19, 2008

Manhattan (1979)

I guess there isn't much I can say about Woody Allen that hasn't been said myriad times already, but I watched this movie, so I'm going to write about it. I'll let you know that I have not seen a great number of his films, and in fact have mostly seen his "lesser" or "crappier" works like Anything Else, Everyone Says I Love You (which for a musical sequence starring Edward Norton I will always cherish to some extent), Cassandra's Dream, and Scoop. But I know some people who are way into this guy, and so I have been endeavoring to get more into this movies.

Pretty much all I ever knew about Manhattan was that it was in black and white, it had something do with that city Woody Allen loves so much, and everyone is obsessed with its music. But actually, it's about relationships! Isaac Davis (Woody Allen) is a neurotic, urban, sex-driven comedy writer who is dating seventeen-year-old Tracy (Mariel Hemingway, who was actually only 18 at the time). He has fun with her but feels he should be dating someone closer to his own age (also someone legal). He becomes attracted to his best friend Yale's (Michael Murphy) mistress, Mary (a frizzy-haired Diane Keaton). She is pretentious and nervous and likes the idea of his unmarried status. Also there is a subplot about Isaac's left-him-for-a-woman ex-wife Jill (Meryl Streep) and her incredibly personal book about their breakup. The relationships intertwine and go back on each other: Mary maybe still has feelings for Yale, Yale maybe wants to leave his wife for Mary, Yale and Isaac will always be best friends, Isaac wonders if he should have broken it off with Tracy just because of her age, et cetera.

Overall I liked it, but not as much as Play It Again, Sam or Annie Hall (which are sort of in the same category of 70's romantic comedies in which he also stars). The story wasn't as engaging, and I didn't particularly like any of the characters. I think the issues of Isaac's and Tracy's relationship are the most interesting. Though still in high school, she believes her love is serious and should be taken seriously, regardless of its recipient's age. Love between people of disparate ages is often scoffed at in our culture, but I think it can be just as real as a relationship between people of the same age. The fact that Isaac so readily believes that Tracy couldn't have a significant attachment to him just because she was seventeen speaks to preconceived notions about "young people". I'm glad that when the issue is addressed again later in the film, he approaches it in a different way and sees her as a person, not just an age.

Anyway, great job, Woody Allen. I look forward to seeing more of your movies. FYI: Vicky Cristina Barcelona was pretty good.


Monday, September 15, 2008

Burn After Reading (2008)

After making a conscious effort recently to catch up on the Coen brothers movies I'd missed (Raising Arizona, The Man Who Wasn't There, and Barton Fink; I still need Oh Brother, Where Art Thou? and Miller's Crossing), I was of course pretty psyched for their latest: Burn After Reading. As much as I liked No Country for Old Men, I like it best when they're doing comedy-thrillers with body counts. This had all of those things, and did a pretty good job combining everything. Hardbodies Gym employee Linda Litzke, desperate for cosmetic surgery funds, teams up with her coworker Chad and uses a personal disc found on the gym floor to blackmail former CIA agent Osborne Cox. There are various complications, misunderstandings, shouting matches, and acts of adultery. The plot is convoluted, but quite aware of this fact, as evidenced by the CIA's confused recaps of everyone's doings. My main concern is that there are too many characters. It's not that there are wasted characters or anything, but I felt like I didn't fully get to know most of the people who were there. Less characters would have meant more development for the ones left. However, this detail doesn't take away much from the jokes and good times and guns and poorly-thought-out schemes.

Basically, between Brad Pitt dancing like no one's watching, John Malkovich marching around in a bathrobe with a hatchet, George Clooney building secret devices, Frances McDormand plotting against America, and Tilda Swinton's hair style, this movie has pretty much all the things a person needs. Remember that it's a Coen brothers movie so people will die, and you'll be ok! Definitely check it out for some hilarious and exciting times!


Sunday, September 14, 2008

Kinky Boots (2005)

All right I'm trying to get through some Netflix movies, because guess what: I have 457 movies/tv show discs in my queue (not including 25 saved). So last week after an exhausting day and lengthy trip between my school and the Museum School for an also-lengthy drawing class, I collapsed into bed with some fried rice and no intention of doing anything other than relaxing. Popping in Kinky Boots to top off the evening turned out to be a good idea!

The film tells the story of Charlie Price (Joel Edgerton), whose shoemaker father ran an independent shoe factory in rural, small-town Northampton, England. After his death, Charlie is forced to take over the business, despite his recent marriage, job in advertising, and move to London. With the factory on the brink of financial collapse, he's starved for ideas to reinvigorate it. After running into drag queen and club singer Lola (Chiwetel Ejiofor) and learning of his profession's perpetual snag of women's stilettos' weakness under a man's weight, Charlie decides to corner this niche market and design women's boots for men. Lola goes to Northampton to provide the designs and help in the production, both scaring and befriending various townspeople and factory workers. His lifestyle makes most people (including, to some extent, Charlie) uncomfortable, but he braves the stares for the sake of creativity, small businesses, clueless factory managers, and men seeking fashionable high-heeled boots everywhere. There's some romantic stuff in there, too.

This movie rode the line between comedy and drama pretty hard, though leaning slightly more to the lighter side. I was ok with this, not expecting any kind of gut-buster or tear-jerker. I cared about the characters and really liked the story. A good amount of tension was built up to the final fashion show in Milan, keeping my interest throughout. I dug
Chiwetel Ejiofor's performance, especially his interactions with Charlie and the homophobic factory worker Don (Nick Frost). The film isn't exactly breaking any barriers for gay rights but it presents an engaging cross-cultural relationship and throws in some fashion and musical sequences. Enough to keep anyone happy!

Note: Excitement! According to the film's Wikipedia page, "
A Broadway musical version of the film is currently in the works, with producers Daryl Roth and Hal Luftig and helming the project." Eep! Musicals!


De Niro/Pacino Double Feature: Heat (1995) and Righteous Kill (2008)

Ok right off the bat let me say that I am in no way a big Robert De Niro or Al Pacino person. Prior to these movies I'd only seen Pacino in The Godfather, in which he was good though the movie overall didn't impress me. I'd seen De Niro in a handful of films, notably Taxi Driver, Brazil, Stardust, and Meet the Parents. Needless to say my schooling on these actors is nowhere near complete. I'm ok with this/I'll get to it eventually. Anyway.

As preparation for Righteous Kill this weekend, it was decided by various cohorts who are more into these guys than I am that it was time to watch the only other film in which De Niro and Pacino share scenes together: Heat. Ok so here's what we've learned: just because two really famous actors are in a movie together in "showdown" mode, that doesn't mean it's going to be well-written, well-directed, or at all a good movie. Also, make sure you check the running time of a movie no one in the room has seen before you watch it, especially if the drinks you had are making you a bit sleepy.

Heat is a very very long, cat-and-mouse film about really smart criminal Neil McCauley (Robert De Niro) going up against Lt Vincent Hanna (Al Pacino) who's dedicated himself to taking him down. Both their professional and romantic lives are focused on, with a score of characters they interact with, most of whom are poorly developed. The plot boils down to Neil planning a very risky bank heist because one of his team members, Chris (Val Kilmer) is in a lot of gambling debt and on the verge of losing his wife (Ashley Judd). Vincent obsesses over Neil as the two circle and trick and narrowly miss each other. However this alienates his wife (Diane Venora) and depressed step daughter (Natalie Portman), causing (oh no) Problems! Also Neil romances a lady (Am Brenneman). That summary sounded a lot more interesting than the film actually was. It was very dragged out, and the characters were either so despicable and/or flat that I just didn't care what happened to them. I found myself rooting for Neal just because I like Robert De Niro better and because Al Pacino's haircut was so dumb. You spend the whole time waiting for the two scenes they share together, and even that isn't much of a payout. It's hailed by a lot of people so maybe I missed something, but I would advise only hardcore fans to watch this movie.


Now, on to more recent fare: Righteous Kill. It was so awful! This coming from a person who tends to like (or at least appreciate) in some way most movies I see all the way through. It was predictable and dull, with not enough action and lackluster performances. From the trailer, a so-bad-it's-funny kind of film could have been hoped for, or a more self-aware kind of cop movie. Nope. I don't even feel like saying anymore about it. It was just not worth it anyway, unless your greatest fantasy is to see Robert De Niro and Al Pacino talk boringly to one another and crack some really bad "my god we are so funny" jokes. *SPOILER ALERT* At one point De Niro is kneeling over Pacino, who is lying on the floor. Closest thing you get to them breaking the sexual tension that's built up over all these years.



Smokey and the Bandit

Well, it's that time of year again! This Thursday was the customary day for getting drunk and watching Smokey and the Bandit with friends, an activity of which I partook for the first time ever. As always, this movie did not disappoint and did not provoke anything except a rollickin' good time.

A filthy rich, matching-suited father and son approach the dozing Bandit (Burt Reynolds) with a daring proposition: drive to Texarcana, Texas, fetch 400 cases of Coors beer and transport it over county lines to Atlanta, Georgia, all in 28 hours. This is what's known in 1977 as bootlegging, due to antiquated laws. The Bandit accepts this $80,000 bet and enlists his old truckin' buddy Cledus "Snowman" Snow (Jerry Reed, who also did several songs for the soundtrack). Snowman drives the truck with the beer, while Bandit drives a black Pontiac Trans-Am at high speed to distract any cops away from the speeding truck. Enter Carrie aka "Frog" (Sally Field), a runaway bride fleeing a "wedding posse", who hops in with The Bandit and both helps and hinders his scheme. Enter moments later Buford T Justice (Jackie Gleason), a Texas sheriff who goes way out of his jurisdiction to take down that elusive, smart alecky daredevil.

That is pretty much the entire plot, a fairly simple premise formatted to show off some high-speed, high-flying car stunts, slip in some wiseass dialogue, reflect on relationships forged out of necessity/fate in a thrilling situation, and, of course, have hilarious hi-jinks! There are some good shots of Sally Field's butt (or possible butt-double), several occasions of Burt Reynolds' high-pitched laughter, seriously amazing (and destructive!) stunts, and lots of smooth truckin' lingo. It is a carefree, fast-paced time that's always lots of fun! Watching it drunkenly with a group of friends just makes it funner!


"East Bound and Down"- Jerry Reed (Smokey and the Bandit theme song)


Monday, September 8, 2008

Man On Wire and The Baxter

So maybe you've noticed how incredibly lax I've been. This is not because I haven't been watching many movies, but because I have been caught up in other things/too lazy. I will try to correct this! Let's fast forward past the movies I've watched in the last week and a half (the other half of the buddy movie double feature was In Bruges, also I've seen You Kill Me, The Manchurian Candidate [1966], and Der Blaue Engel) to the most recent two I've watched. First Off: Man On Wire!

Not being a particularly well-informed person on any subject unrelated to pop culture, I had very little prior knowledge and no expectations when I sauntered into this British documentary about Frenchman Philippe Petit's beautiful and death-defying wire-walk between the Twin Towers in 1974. The film combined personal interviews with Philippe and his cohorts with re-creation sequences and actual event footage. It also highlighted his walks between two pillars of Notre Dame and across the Sydney Harbour Bridge, moving back and forth between those early embarkations, the happenings leading up to the Twin Tower walk, and the formation of the plan to infiltrate the buildings. It was wonderfully paced and organized, seeking to tell a story and not just inform. I couldn't help feeling the heist-movie excitement of it all as the interviewees and filmmaker took us from the seed of an idea in Philippe's head to the development of a passion to the final execution and thrill of such a remarkable, almost unworldly event. I found myself quite won over by Philippe's poetic descriptions of his craft and ideas, and immediately ready to embrace the artistic merit of his actions. Definitely check this out! (people in the Boston area: It's playing at Kendall Square Cinema.)

Next we have The Baxter. Now, I am a person who would love Michael Showalter probably no matter what. Men, Women, and Children all agree: He is one of the funniest, most adorable people ever. He played the best teenager in The State and played the best tall person in Stella. Overall, a winning guy who is all about being bro's. In his first and as of yet only film, The Baxter, Showalter casts himself as an accountant doomed to lose all of his girlfriends to their ex-boyfriends. He is kind and polite but often clueless and too mild. He's been lucky enough to snag pretty Caroline (Elizabeth Banks) as his fiancee, but of course a few weeks before their wedding her first love Bradley (Justin Theroux) shows up. Throw cutely bookish office temp Cecil Mills (Michelle Williams) into the mix and you have an entertaining study on relationships combined with verbal witticisms and visual comedy (read: Michael Showalter dancing!).

Overall it is a charming, give-a-viewing-from-time-to-time, wintery kind of film. It's got some great appearances of State/Stella/WHAS people including Paul Rudd, Michael Ian Black, and AD Miles. Plus, Peter Dinklage as a wedding planner! The storytelling is non-linear and narrated, two things I enjoy. The plot is not overly complicated but throws in surprises here and there, poking fun at conventional romantic comedies. It's an extremely white, intellectual, indie-chic, and silly movie, with a primary goal of giving some hope to the hopelessly geeky and unlucky in love. So, everyone: be encouraged! And Michael Showalter, if you for some zany reason are reading this, please make another film!


Wednesday, September 3, 2008

Clerks II (2006)

Hanging out with my good buddy/pal/amigo on my last night during my visit home last week, we enjoyed a pair of movies about male friendship! While I was home in NJ, we decided to take a trip to Jay and Silent Bob's Secret Stash in Red Bank and the Quickstop in Leonardo where the original Clerks was filmed. It was a pretty geeky, silly outing but very enjoyable and it totally put us in the mood for Clerks II.

This is a film that, like most Kevin Smith films, boils down to the beauty/importance of friendship. Set 10 years after the first film, we find Randall (Jeff Anderson) the same wise-cracking, inappropriate-at-all-times, gum-chewing layabout, and Dante (Brian O'Halloran) still his old whiny, sensible, weirdly-facial-haired, why-is-Randall-my-best-friend self. The action has moved from a burnt-down Quickstop to a McDonald's-style fast food restaurant where geeky, Jesus-loving Elias (Trevor Fehrman) and likeable, sexy manager Becky (Rosario Dawson) join in the service industry shenanigans. Jay and Silent Bob are back hanging and dealing outside the establishment, coolly observing the goings-on of its employees. Dante is again caught between two attractive women (surprising, Randall points out, for "the most hideous fucking chud [he's] ever met"): his fiance Emma (Kevin Smith's real-life wife, Jennifer Schwalbach) and his secret crush Becky. Randall is dealing with losing his best friend to marriage and a house in Florida. In the end, it's the rock-solid, peanut-butter-and-jelly camaraderie between Randall and Dante that brings everything together. With jokes!

As much as I love the first one, I think that the sequel is a more laugh-out-loud kind of funny. Plus new characters like Elias and Becky and Picklefucker are fantastic. A good amount of Star Wars, Transformers, racial slurs, New Jersey, and sexual acts are discussed, though much of the conversations are more reflective and life-focused (appropriate for the ages and situations of the main characters). Great use of music- more noticeable (at least to me) than in his previous movies, including a phenomenal, if slightly out-of-place dance number to Jackson 5's "ABC". The fact that this movie only exists because Kevin Smith promised Jason Mewes he would write another Jay and Silent Bob movie if the latter could stay off drugs heightens the bond between both Dante and Randall as it parallels Jay and Silent Bob's own friendship. Overall, great job, movie! Hilarious, but not without depth, and suitable for quoting with friends (but probably not with your parents).


(Nothing But) Flowers- The Talking Heads (from the great opening driving scene)