It’s not that I don’t get it. It is just stupid.
Supporters of atrocities such as “Superbad,” “Beerfest” and the slightly more deliberate “Borat” defend these films by claiming that anyone who doesn’t like the movies doesn’t understand the humor.
No, I fully comprehend the over-sexed stereotyping of women, overdone frat-boy humor and racist commentary. It just is not funny.
It seems I can’t turn left these days without a good-intentioned boy friend talking me into seeing another raunchy, unsatisfactory, super bad movie. My response is consistent: Yes, I chuckled a few times. But no, one good punch-line does not a good movie make.
I expect the Van Wilders of the world to still be whooping when the lights come on, but how is it that my seemingly intelligent, thoughtful male friends line up to see the assembly line of post-Chevy Chase “National Lampoon” flops?
Every successful comedy is a high-context relationship between the viewer and characters, references and, of course, shared comedic values. A funny movie is so when the viewer in some way can relate to the absurdity of the characters – even more funny if they can see themselves in the characters. If I am lacking a spiritual connection with Ron Burgundy, it is not for lack of understanding the feminist verses macho man plot line.
These poorly made knock-offs humiliate the leaders of the comedy genre – especially the superior camps “Old School,” “Meet the Parents” and “Zoolander.”
I have let myself be dragged to more than a few faulty blockbusters, but never without a heated post-show debate and teeth grinding as the packed theater laughs at the most sexist, racist and clichéd scenes.
One of these supposedly adept friends defended himself by saying that movies don’t always have to have a great plot to enjoy them.
“I’m just saying Carrie,” he sputtered in defense, “I don’t go to [said movies] expecting great writing or acting. The comedic value is lowbrow, but anything can be funny if done right.”
Key: Done right.
Funny, calculated jabs at a group (be it a gender, a race or an industry) are worthwhile when they leave the viewer thinking and laughing long after the characters have moved on.
Derek Zoolander, the simple-minded male model turned hero unwittingly fights the evils of the fashion industry in the excellent satire on the high-stakes beauty ring.
Like in real life, taking a joke (especially a poorly received one) too far only highlights the jokester’s insecurity with the subject as well as his general ignorance and insensitivity.
This Friday night, no matter how hard any particular young men try to get me into the opening of “The Comebacks,” I will be at home, watching “The Hot Chick.”
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