ENTERTAINMENT

  Gregg Turkington     John C. Reilly     Tye Sheridan     Dean Stockwell     Michael Cera
 

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Entertainment is a continuation of the Christopher Guest/Andy Kauffman movies where everyday activities and conversations are held, but with no particular logical sequencing and with a heavy dose of whatever disgusting, repellant images the filmmakers can think up (particularly those having to do with sexual and other bodily functions).  This one is written by the lead actor, Gregg Turkington, and directed by Rick Alverson.

The loose setup is that Turkington is an “entertainer” in low-life clubs or bars across the country.  In addition, some of the action takes place out in the California desert, sometimes on a table and/or chairs sitting in the sand, perhaps at a correctional center, perhaps on a tour with a tour guide, although Turkington usually wanders off to do his own thing.  The “entertainment” seems to be an exploration of just what people will laugh at, and laugh they do, particularly when pain or disgusting images are involved. 

      Turkington hires temps to perform with him, like Frank (Stockwell) and Eddie (Sheridan), one dressed as a clown and jumping up on tables taunting the audience, and one miming masturbation and defecation.  Much of the time, particularly in the beginning, it was only members of the audience in the film who were chuckling.  At one point, Gregg’s cousin John (Reilly) attends, wanting to support him and give helpful advice, but he ends up criticizing The Comedian (Turkington) instead.  To me, Reilly is about the only character I come close to chuckling at because of his usual droll style, slightly masked critical observation, and quirky logic.  For instance, here he associates a reference to Liza Minnelli with the movie The Wizard of Oz.  Then he says, “And what was that song my mother used to always cry at?”  Whereupon, he breaks out into song…but it’s “Away in a Manger.”  At other points, characters burst into out-of-tune songs, and these are funny parts as well.  But for the most

part, this film repelled me.

      Entertainment is for those who take to ribald comedy, but for most of us, it’s boring and a turn-off.

Skip this.

Grade:  D By Donna R. Copeland

GET HARD

--> Will Ferrell     Kevin Hart

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Get Hard is typical fare for Ferrell and Hart fans, but this one is getting some flack about its racial and gay material.  But whereas the filmmakers (Etan Cohen, director; Jay Martel and Ian Roberts, writers) do make an issue of these subjects constantly, I think they are successful in striking a balance between both points of view about race and homosexuality.  They air both sides.  Additional jibes are made about the very wealthy (1%) vs. the other 99%.  The Ferrell character (James King) is extremely wealthy, and the Hart character (Darnell Lewis), while not poor, is struggling.  My impression is that they make pointed references to the “haves’” attitudes from the beginning, and by the end the “have”—King—is definitely on the side of the majority of Americans, and justice is served in the case of some wealthy financiers.

The plot begins with James King sitting pretty with a secure position in investments, a mansion of a house in Bel Air, California, and a gorgeous fiancé who happens to be his boss’ daughter.  Like many of his kind apparently are, he is oblivious to the people taking care of him, and he feels invulnerable.  However, his charmed life is about to come to an end when he is arrested for securities fraud and embezzlement.  After a trial in which he is found guilty, the judge orders a 10-year prison sentence—although he is allowed to go free for 30 days with an ankle identification device.

King is a nice guy, and has been cordial with the car-washing service owned by Lewis.  When Lewis finds out that King is going to prison, he gives hints about what is likely to be in store for King, a white prisoner, especially in San Quentin.  King does some quick statistical analyses in his head and concludes that since Darnell is black he must have been in prison.  (We’ll ignore the fact that statistics such as “so many out of so many” says nothing about an individual.)  Darnell plays on the stereotype, and agrees to coach King on how to survive in prison, teaching him how to fight (not so successful; King is a soft, Harvard-educated intellectual), how to trash talk, how to “suck dick”, and other “skills.” 

This is an elaborate training program that involves enlisting the help of a black gang and a Nazi-like white motorcycle band.  In the process, King and Darnell become fast friends, which is in large part the point of the movie. 

Although this type of film is not the kind I gravitate toward, I do appreciate the effort to bridge the gaps between racial, sexual, and economic groups, and although much of the film is silly hi-jinx and the humor often eluded me, it held my interest.

Definitely a film for Ferrell and Hart fans.

Grade:  C+             By Donna R. Copeland