The “movie date” is usually the second or third date, when you invite her over to watch a movie with you or you go to her place and watch a movie.
Also when you decide what day you´re going to watch the movie, dont pick fridays/saturdays.

This goes for all sorts of dates in the beginning, she always has some other plans she could go to and you dont want her to feel like she has to give up/miss some other event to spend time with you. Especially since she doesn´t know you that well yet.

Picking the right movie to watch can be a hard thing, basicly dont pick anything you like for example picking some action/sad drama/harry potter movie is not something you should do.

Basically you want to pick a movie that invokes happy/romantic feelings.

With these movies you´ll melt that special girls heart

1.  Love Actually (2003).  A great romantic comedy especially good now when it´s christmas and Hugh Grant is in it, girls love him

2.WALL-E (2008).  Made me cry a little bit, enough said

3. Forgetting Sarah Marshall (2008). It´s hilarious and very romantic.

4.  (500) Days of Summer (2009).  A beautiful and artistic romantic comedy.

5. Slumdog Millionaire (2008). I just watched this movie with a girl and as Borat would say ´Great Success´!

If you have any other good movies to watch share them!  I´ve seen these too many times now I have probably seen Love Actually 10+ times and it´s beginning to be embarrassing.

/Lfym

Thanks Rasta for the Tickets! – 2 nights at The Palms. Most amazing show I have seen in a long time. From the Intro to the last minutes of her 2 hour set she owned the crowd. What a powerful performer! The production was over the top along with her signature off the wall costumes. The Pearl at The Palms was jam packed and full of energy. You can say what you will about her, but there is no denying she one of the most talented artists of our time. She has changed Pop Music and there are no signs of her slowing down. During her show she announced that her debut album has sold 7 million albums world wide. If you have the chance to see this show – IT’S A MUST. – cp

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.

9. The Hangover (2009)

Before I saw this film this summer, a friend called to recommend it to me: “I don’t want to oversell certain parts…well, there’s pretty much no way I can oversell Zach Galifianakis’ performance.” And he was right. Even with all the hype Galifianakis was getting, his performance in The Hangover was still one of the most satisfying comedic performances of the decade. Galifianakis’ role was the standout, but the entire cast, including Ed Helms, Bradley Cooper, and Jeffrey Tambor, helped take a movie with a rather generic premise—a bachelor party gone awry—to new heights. Even a cameo from Mike Tyson was handled rather well (I’m on board with any excuse to include “In the Air Tonight” in a movie). Nevertheless, without Galifianakis—the one-man wolf pack—this movie wouldn’t have even sniffed the Top Ten.

8. A Mighty Wind (2003)

Christopher Guest movies are known for a consortium of characters who are completely unself-conscious and oblivious, but one character usually stands out. In Waiting for Guffman, it’s Corky; in Best in Show, it’s Fred Willard’s announcer. But it’s the dueling performances of Eugene Levy and Fred Willard in A Mighty Wind that set this one apart. Levy, as folk legend Mitch Cohen, is arguably the heart of the movie, but it’s Willard as Mike LaFontaine, the former star of “Wha’ Happened?”, who has the funniest lines. This, of course, shouldn’t minimize the contributions of Guest, Michael McKean, and Harry Shearer as The Folksmen, or John Micheal Higgins as the head of the New Main Street Singers. As usual in Guest’s films, the entire cast gets laughs, but none as much as Willard and Levy. And of all the films on this list, A Might Wind has by far the best soundtrack: So it’s got that going for it, which is nice.

7. The 40-Year-Old Virgin (2005)

6. Forgetting Sarah Marshall (2008)

5. Knocked Up (2007)

How you feel about comedies during the Aughts—or at least since 2005—comes down largely to how you answer the “Judd Apatow question.”* Judd Apatow films, and his style, have dominated the comedy landscape in the second half of the decade, so it’s hard to escape his influence. If you find the movies tiresome, redundant, one-dimensional, too long, or any other of the myriad complaints lodged against these films, then you’re probably not happy about this influence.

*It also, I guess, has a lot to do with how you answer the “Vince Vaughn question.” My answer to that question has always been, “No.”

I, for one, have no problem with Judd Apatows movies. In fact, I think they represent a breakthrough in romantic comedies, an otherwise stale genre. Apatow and his crew have such an ear for dialogue, and such a wry yet sympathetic take on relationships, that his films have an earnestness and realism that make the humor even more powerful. It also doesn’t hurt that his films star some of the funniest actors in the world, like Jason Segel, Seth Rogen, Paul Rudd, and Steve Carell.

The order of these three films is inevitably going to be somewhat arbitrary; I love all three and have seen each of them dozens of times. If you reversed the order, or changed it any way, I probably couldn’t object much.

If I had to pick a favorite of these three, I’d probably go with Knocked Up, thanks largely to Rudd’s performance as Pete. It also showcases Rogen at his best and the most fully depicted relationship of any of the films. Scenes like the pregnant-sex scene—“I do not want you to fuck me like a dog!” “It’s doggie STYLE. It’s  just a style….We don’t have to go outside or anything”—, their fight scene—“Fuck you, hormones. You are a crazy bitch, hormones”—,and the dinner scene—“I’m pregnant.” “With….emotion?”— are especially funny because they feel so realistic.

Having Said That, Forgetting Sarah Marshall and The 40-Year-Old-Virgin are classics in their own right. Forgetting (which isn’t directed by Apatow, but was produced by him and featured many Apatow actors) finally gave Jason Segel, maybe the funniest leading man of all these films, an opportunity to shine; as I’ve said, I’d listen to Segel sing in any movie. Russell Brand, Mila Kunis, Kristen Bell, and Jonah Hill also don’t hurt.

And The 40-Year-Old-Virgin features the guileless Steve Carell—“You know how when you grab a woman’s breast and it feels like a bag of sand?”—and great scenes like the “You know how I know you’re gay?” exchange and David’s attempt to bring Andy his porn collection: “Here it is: Boner Jams ’03. It’s a mixtape I made of some scenes I was really into in the summer of 2003.”

4. Wet Hot American Summer (2001)

This cult classic doesn’t need realism—it’s just a continuous string of absurdity and satire. The ensemble cast, made up largely of alums from MTV’s The State (the film was also directed by The State alum David Wain), manages to turn the ridiculous farce of a story into one of the funniest films of the decade. Working with such tropes as high-speed chases, natural disasters, and children in peril, as well as broad genres like underdog sports movies, teen romance/romantic comedy, and summer camp movies, Wet Hot American Summer undermines practically every cinematic conceit. There’s Coop’s speech before the “culminating climactic softball game against evil Camp Tiger Claw” in which he tells his team of his plan to “try to come from behind at the last minute with some weird, trick play that we made up,” and the team responds that “it sounds like pretty well-worn territory” and that “the whole thing feels kind of trite.” The overall silliness is sold by a great cast of comic actors who would go on to big things in the Aughts: Paul Rudd, Michael Showalter, Amy Poehler, Bradley Cooper, and A.D. Miles.

3. Anchorman (2004)

Wow, we managed to make it through 70% of this list without a single Will Ferrell movie. Ferrell certainly passes Apatow and Vince Vaughn as the most polarizing comic figure of the decade: Some people think he’s a glorified buffoon who plays the same kind of idiot in every movie, while others think he’s an extremely funny buffoon who plays the same kind of idiot in every movie. It’s true that Ferrell has made a career out of repeating the same shtick, but this is largely because he has, with pretty much every movie since, tried to duplicate the success of Anchorman. Ferrell’s brand of arrogant, unrestrained fool was never more hilariously embodied than it was in Ron Burgundy. I don’t know how to put this, but he’s kind of a big deal. Anchorman also features a stellar supporting cast, with Paul Rudd as Brian Fantana (“60% of the time, it works every time.”), Steve Carell as Brick Tamland (“I love lamp!”), David Koechner as Champ Kind (“I miss you so damn much. I miss being with you; I miss being near you. I miss your laugh. I miss your scent; I miss your musk.”), and Fred Willard as Ed Harken (“I have no idea where he would have gotten a hold of German pornography.”). Really, though, it’s thanks to Ferrell’s skill with improvisation, and his ability to bring lines like, “Milk was a BAD choice!” and “They named it San Diego, which of course in German means ‘a whale’s vagina’” into the public consciousness, that makes this movie so great.

2. Zoolander (2001)

The similarities between Anchorman and Zoolander are obvious: They are both movies about incredibly successful and confident, yet incredibly stupid, people. They both feature a rich cast of comic actors—Will Ferrell’s role as Jacobim Mugatu may be even more inspired than his portrayal of Ron Burgundy. And they each left an indelible on the culture in the form of absurd lines that can be quoted at pretty much any time for a cheap laugh: “A ‘eugoogolizer’: One who speaks at funerals. Or did you think I’d be to stupid to know what a ‘eugoogoly’ was?” “Sting would be another hero of mine. The music he’s created over the years…I don’t really listen to it, but the fact that he’s making it. I respect that.” “I’m pretty sure there’s more to life than being really, really, ridiculously good looking.” Zoolander, however, gets the #2 spot because it was probably slightly funnier overall, and it had a more compelling plot. Plot may seem almost irrelevant to movies like this, but Zoolander’s somewhat absurd assassination plot manages to include a Derek Zoolander trip to coal country, a secret graveyard meeting with David Duchovny, and the great brainwashing scene. 

1. Superbad (2007)

The last three movies on this list may indicate that I prefer absurd humor to realistic humor, but this is not the case; both styles have their appeal, and a comedy’s quality is more dependant on how well it operates within its own version of reality. Superbad, the funniest movie of the Aughts, is almost disturbingly realistic in its depiction of high school life and language. The characters of Seth and Evan, and the friendship between the two of them, are deep and compelling, lending a strain of pathos to the humor—a strain both leads, particularly Michael Cera, exploit well. Cera, who has been caught in a Will Ferrell-like dilemma of his own in his attempt to capture George Michael Bluth in every movie, has probably never given a funnier performance than he gives as Evan. During a scene early in the movie, when Seth gets spit on by the mullet-wearing bully, Cera lingers in the background, bobbing his head; even as a blur lurking in the background, though, Cera manages to steal the scene. For his part, though, Jonah Hill as Seth gives what would be the breakout performance of almost any other comedy. While he lacks Cera’s subtlety, Hill probably gets the more outright hysterical lines: “Look at Jules’ dating record: […] Jason Stone who looks like fucking Zack Morris, and Matt Mayer. Matt Mayer: He’s the sweetest guy ever. Have you ever stared into his eyes? It was like the first time I heard The Beatles.” And none of this even includes Christopher Mintz-Plaatz’s breakthrough as McLovin, or Seth Rogen and Bill Hader as the cops; you’d have a pretty difficult time coming up with a better secondary story in a comedy. It’s Cera and Hill, though, and their ability to seem like plausible high school students and best friends, that manage to turn Superbad into the funniest film of the decade.

This is adapted from an email.

Recently Aram asked a bunch of us to conjure up our “top movies of the decade” list. There was some talk as this project started about whether we were to rank our “Top 10” movies of the decade by the “amount we liked them” criteria or the “how good they were” criteria. Any such list being subjective, I see fleeting differences, but insofar as they exist I’ll leave the second one to Ebert. These are the brain droppings straight from my mind about the movies I liked over the last decade for the reasons I liked them. As you’ll soon understand, the movies are neither in order nor are there only 10 of them, nor are they only movies I like, nor did I list Love, Actually, which I do like. Let’s rock.

1.    Ocean’s Eleven/Casino Royale

Both the first film in a series, both eminently rewatchable, but for almost completely different reasons. I’ve probably seen Ocean’s Eleven more than any other movie this decade; its narcotic qualities have landed it on HBO and TNT, and roped me in, too many times to count. (I mean, we could have counted, but I was probably high a bunch of those times and would have forgotten.) The movie’s long but doesn’t feel that way: it’s like a Clipse album, devoid of excess material to stay on its crackling, stylish pulse. As one set piece flows into another, you (or “I”) flow with it, losing time completely to grasp the narrative with an ending that’s satisfying because it’s known ahead of time. It’s also got the best last shot of a movie in the last 10 years, with a wordless guitar jam playing the heroes off into the sunset… a jam that usually gets pre-empted by TNT flashing right back to the first minute for its second, third, or fourth showing of the day. Some routines are cumbersome; the Ocean’s Eleven recursive loop is wonderful.

Casino Royale is equally narcotic, but in a different way. As Sasha Frere-Jones (yes, I’m really doing this) initially contrasted the Clipse’s terse, waste-not style with Ghostface’s EVERYTHING MUST GO approach in a 2006 review, I’ll do the same here. Casino Royale is long, feels long, and has dizzying highs and painfully monotonous lows. But it works but as a re-invention of the Bond franchise in the Bourne vein, even if its follow-ups are sure to disappoint in comparison. (In our lifetimes, the Bond franchise has had a very running back-like career path with its stars: great first movies, with diminishing results. You can say I wasn’t all that down with Quantum of Solace, maybe because it felt like a tacked-on addendum to CR rather than its own film.) Tapping into Bourne’s badassness, the poker craze (even if it’s peak has passed), insider Bond shit (with the title) and pulling off the Bond-Eva Green combo makes the good times obscure the dull ones. A movie like Star Trek did a great job of combining the strengths of both these films, but I sort of like the tipping to either side that they did, because if I wanted to watch something in the middle, I would never choose Star Trek over…

2.    The Bourne Ultimatum/Supremacy/United 93

The Bourne Ultimatum is the real headliner here, and I think it’s my favorite movie of the decade, by far. (I can hear Marc now: “MATT DAMON!”) I only have one minor quibble with the movie, which I remember every time I watch it but can’t recall now because it concerns a plot point so minor that my attention to it probably reveals the extent of my devotion. Actually, I also think the ending is kind of blah, and it’s still easily my favorite film of the decade.

Here’s where the “it’s a better movie” vs. “I liked it” thing rears its head, because I actually think The Bourne Supremacy might be a better movie. Ultimatum has the payoff, but Supremacy moves the Bourne story from Point A to Point B in such a compelling, brutal, and honest way that it’s the spiritual successor to the brooding The Empire Strikes Back. The difference between the films is that Empire led straight into the weakest of the Star Wars films, whereas the Supremacy moves from the weakest (and I’m grading on a Flozell Adams-sized curve) into the most satisfying. What do the Supremacy and Ultimatum have in common that the Identity does not? They were directed by Paul Greengrass, and it would be pointless to talk about these films without throwing United 93 in here as well. United 93 was the case of a movie that could have so easily been maudlin, disastrous, poorly-executed or you-name-it and wasn’t. The plot known from the very beginning to absolutely everyone (and for that same reason, the movie probably avoided by many people), the movie is pretty damn near a masterpiece. I still prefer the Bourne films, but I’d rank any Greengrass film above pretty much anything anyone does in the action genre—and most other genres.

3.    The Science of Sleep/Eternal Sunshine of the Spotless Mind/Synecdoche, New York*

I don’t need to spill any more virtual ink on Eternal Sunshine. Either you like it or you don’t, and that’s okay. I do. A lot. But I remember when I left The Science of Sleep, I told Ryan, to his surprise, that I preferred it to Eternal Sunshine, and I still do. Everything that Eternal Sunshine does, The Science of Sleep does better. Eternal Sunshine’s effects are impressive and thought-provoking, whereas The Science of Sleep’s are even more bare-knuckled and continuously more visually stunning. Eternal Sunshine is, at heart, about its plot, its metaphysical ruminations, whatever… The Science of Sleep is about grabbing the viewer by the lapels and forcing them to pay attention to the sheer power of the visual medium. If Eternal Sunshine is Gondry making a great film (and it is), The Science of Sleep is Gondry making the best Gondry film. I have no problem with that.

* A late edition on the Charlie Kaufman tip. Thought provoking, epic, utterly terrifying. If I can absorb the lessons of this movie without ever thinking of the movie again, that would make me happy.

4.    There Will Be Blood/No Country For Old Men

These two films are almost impossible to separate. They’re dark, atmospheric Westerns that came out in the same year, both to heaps of critical acclaim and one or two pricklebushes trying to take them down. Those who discount No Country do so at their peril; whether it’s a great film or not, it is certainly an iconic one. To get too heavily into nitpicking, in this case, is to miss the point. Having just seen Once Upon a Time in the West for the first time, No Country is the only other movie I can think of that sets an idea of place so firmly and so consistently—with wide, beautiful tracking shots devoid of talk—that what happens there is almost of secondary importance. If the idea of the Western is the human folly/inevitability of setting up shop in an inhospitable, ultimately unsustainable environment (is it? I’m just guessing), I think No Country nails it.

There Will Be Blood turns the Western on its head, to a degree, by focusing on the villain—the man who feeds off the barren land, rather than succumbing to it. In fact, having eventually raped the land of its natural resources through good-old-fashioned American evil, Daniel Plainview eventually escapes to a mansion, living off servants and booze having alienated or killed anyone he ever knew or loved. It’s a perverse meditation on the American Dream and that’s both bizarre and wonderful on each viewing, especially the final scene, which gets more baffling and amazing every time and is well worth every minute of its lead-in. Taken together, There Will Be Blood shows how Americans have the opportunity to transcend these unforgiving landscapes through the perverse, peculiar, and often corrupting power of capitalism. I guess.

5.    The Royal Tenenbaums/The Fantastic Mr. Fox

The Fantastic Mr. Fox is the most recent addition to this list; I saw it two weeks ago. I would say it was a pleasant return to the Wes Anderson filmmaking I liked the most, except the only movie I really liked before now was The Royal Tenenbaums. I think even a gentle misapplication of his style ruined other movies for me, including Rushmore, which I found too mean-spirited to thoroughly enjoy. Tenenbaums, however, dealt with serious and silly subjects in a way that was basically a romp, and I like romps. Maybe there’s some sort of inverse correlation to the number of minutes Bill Murray’s hangdog mug appears onscreen and how much I like the movie, but all I know is that by the time The Life Aquatic came around I was done with it. Mr. Fox changed all that: This was the perfect medium for Anderson to express his “dandy” self, as Charlie Rose called him, in a compelling high-tech/low-tech way. You can choose to heed the lessons of the film if you want, but you can’t say it isn’t a good time, thanks largely to its Royal Tenenbaum-esque protagonist. I think having a mischievous, childish adult in charge perfectly showcases Anderson’s highfalutin sensibilities without pushing the movies too much into the realm of human droopiness, which isn’t all that fascinating or memorable.

6.    Talladega Nights: The Ballad of Ricky Bobby/Wedding Crashers
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Talladega Nights: The Ballad of Ricky Bobby/Team America: World Police/Idiocracy
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Zoolander

I think Talladega Nights is the best “Will Ferrell movie” of the decade for a few reasons, which is not to say I hate Anchorman or anything. As far as “Comedies that are phenomenal at the beginning and have some laugh-out-loud jokes in the middle and chaotically wrap up the plot with no real regard for the audience” go, I’d cast my lot with Talladega Nights and Wedding Crashers over, say, Anchorman and Old School. The end of Wedding Crashers may in fact be a complete mess, but it’s such a mess that I actually find it funny, as if it was banged out in 10 minutes at a bad improv show and everyone’s just trying to get to the next movie that’s funny at the beginning. Don’t forget: The start of Wedding Crashers is fucking hilarious in a confident “We know how good we are at this gimmick” way that only loses its floor when the gimmick becomes unsustainable. But that doesn’t undermine the gimmick. Similarly, the first 30 minutes of Talladega Nights happen so fast and the jokes fly so quickly that I’m almost ready for things to slow down by mid-movie.

It’s also worth pointing out that Talladega Nights does more to satirize and undermine the George W. Bush Administration than any of the dozens of documentaries and hit-piece liberal-bent fictions that we were served at the time.* Ferrell is quite literally playing Bobby as Bush, and his journey from lucky asshole to king to down-and-out loser realizing how everything he knew was based on very simple lies and misunderstandings gave hope that Bush’s reign of stupidity was an isolated incident from a man who hit the jackpot of life to the benefit of no one. Team America: World Police satirized Bush some, but it also gave, via a very simple, scatological analogy, the only honest and possibly convincing explanation I’ve heard for the Iraq War, and managed to skewer the Bush-hating left without drawing its ire. Say it with me now: MATT DAMON!

As for Zoolander, it’s a masterpiece, and the best comedy of the 00’s. Not a hair out of place, literally or figuratively, and it’s the best work of everyone involved. One tremendously long night in college, Ravi and I were in search of a friend and we ended up at house where a bunch of stoned-ass kids were watching the badass end sequence of Unforgiven. When the credits started to roll, the overbearing, obnoxious kid who put the movie on immediately broke the silence with a declarative statement: “Flawless film. FLAWLESS film.” You disagreed with him at your own risk (Ravi and I just left), much like you disagree with me about Zoolander at your own risk. Flawless film.

* Idiocracy does a great job, too, and I forgot it until was about to send out the email.

7.    Borat/The Hangover

I put these two movies together not because I thought they were gut-bustingly hilarious—I’m uncomfortable with the meaner aspects of comedy verite, and much of The Hangover was too silly to care about—but because they were both moviegoing experiences unlike anything I’ve ever experience. They both flipped conventions on their head. My whole office was talking like Borat for a full three months before the movie came out, and we gobbled down every second of leaked footage like it was free beer. When the movie did finally open, we all left work at noon and headed over to the theater, still in our bad faux-Kazakh accents. Once the movie was consumed, we left, and no one did a Borat impression any more. Having finally seen the movie, the obsession was completely over for every one of us when it normally would have just begun, but it would be impossible to ignore how charged everyone was for those few months ahead of time. As far a movie release “events” go, I think it’s the bigget one I participated in since The Phantom Menace. Yeah, I know.

As for how The Hangover got here: I’ve never seen a movie where the first 98 percent of it was a setup for the last two minutes. I laughed at times during the movie, but during the final camera-discovery scene I laughed as hard as I ever have for the duration. That counts for something.

8.    The Class/Wall•E

Kids have to learn. That’s a given. The Class takes a reality-show-type look at a French classroom. The movie is written by and stars a former teacher who cast his former students as students, and many of the goings-on are improvised. It’s a cousin of the 1990s film La Haine, which I just saw, which is basically Kids in Paris, only better and darker. Yes, darker.

Wall•E does everything it does so well that it’s hard to believe the animated short that preceded it was just as good. I’m not a big fan of animated movies, but this one is good maybe because of the long stretches of silence, and maybe because Pixar wrecks shit.

9.    Once

Pretty much the most honest movie you’ll see about love or music. Definitely the second one.

10.    Donnie Darko/Crash

Let me say this straight off to fend off the torch-wielding trolls: I don’t actually like Crash, but I don’t hate it either. Yes, it’s an overwrought racially-motivated fantasy that doesn’t deserve to be within a freeway-length of any Best Picture discussions. No, its very existence doesn’t throw my world off-kilter. Most people I’ve talked to, though, fall into the category of loving or hating it (mostly the latter), and it’s got one of the most curious stories of success: Somehow winning the Academy Award, then becoming the most-rented movie on Netflix for the next three years and counting. It’s the Netflix reason alone that I eventually watched it and earned the wrath of one particularly angry friend, who wrote me virtual reams of vitriolic prose against its perceived racially and Scientologically tinged lunacy. It was a great email, and I agreed with almost all of it. But mostly, I was happy just to be talking about movies on a supercritical level, and Crash’s text is so ready to be ripped apart at a moment’s notice that I’m happy it exists.

Donnie Darko offers the same opportunity, but on a different level. With its themes of determinism and time-travel, it was Lost before Lost was invented, leastwise before it “became” Lost. I was surprised that it was from this decade, because it seems older than that: Lost and other media have done a good enough job of expanding on the themes contained in DD that I don’t see the need to go back, but ignoring the effect it had on me at the time—and the discussions it provoked—wouldn’t be doing it justice.

Honorable Mentions

•   Blood Diamond

Expected to hate this but really, really liked it. Sounds strange to say it, but great accent work by Leo, and I’m dizzily in love with Jennifer Connolly in this movie.

•   Rocky Balboa

Another one that was surprisingly good. Some real touching stuff, and the way they inserted a new female lead without going all the way and pushing it romantic with Rocky lent the whole thing an air of restraint that may or may not have been missing in, say, Rocky IV.

•   A Walk to Beautiful

A “shit is real” film about Ethiopia. Shit is real.

•   Gone Baby Gone

A Boston cop drama like The Departed or Mystic River, but really, really good. You think Leo and Sean Penn are badasses? Watch Casey Affleck (yes, Casey Affleck) in this movie. He will ruin. Your. Shit.

•   Burn After Reading

Another Coen brothers movie that I was told I had to see multiple times before appreciating. Well I put it on my iPod and have watched it twice on planes, and now I appreciate it.

•   Forgetting Sarah Marshall

Forgot this until Moacir scolded me in the comments but it is added out of joy, not out of guilt.

•   Infernal Affairses

Thought these were in the 90s until Marc put them on his list. Amazing.

Dishonorable Mentions

1.    Cloverfield

A great idea with trash execution. The characters are loathsome people, and not in the It’s Always Sunny vein, where we like them when we’re not supposed to. I want these people to be the first people to die, and when it happens after a scant 80 or so minutes, it’s not soon enough. Apparently they’re planning a sequel; I hope it’s a mulligan and not a follow-up.

2.   Transformers

You already know what I think.

3.   The Departed/Mystic River

The Departed is a travesty that I liked enough to see twice in the theater but gets worse with every viewing. Oscar-begging aside, Alec Baldwin and Marky Mark carry the movie, and they’re about six deep on the star list (Okay, Leo’s pretty good too). Also, if you’re going to remake one of the best movies of all time you might as well have the best part of the original, which is the tapping-on-the-window in the warehouse meeting scene. And I haven’t heard worse Boston accents in any movie, ever. Not even Mystic River, which is another Eastwood piece of crap. You can tell when outsiders make movies about Boston. They’re the bad ones.

4. Batman Begins/TDK

They suffer from the exact same problem: Both are two movies in one, and I love the first half of both of them. The Batman-in-China shit is awesome, and the Batman/Joker shit is also great. But the second acts seem so tacked on that they simply drag along to the point I don’t care anymore far before they’re over. And that fucking voice.

5. The Matrix Reloaded/Revolutions

After The Phanthom Menace, I had no real hopes for the following two Star Wars movies, so I’m leaving them off. Before The Matrix Reloaded, I told friends that I had never been as excited to see a movie. I didn’t watch Revolutions until long after it had entered the cable rotation. That’s probably all you need to know.

I failed my blogging challenge, writing every day was harder than I expected. I did get a little side-tracked with my Tumblr experiment. But, I was still blogging on the regular. It wasn’t until my arrival of How I Met Your Mother, season 1-4, from Amazon that the decline in blogging occurred. Yes, I blame my lack of blog entries on my obsession with HIMYM. It’s so bad that over the weekend when my boyfriend, Louie, was watching a movie, Forgetting Sarah Marshall, starring Jason Segal. ( for those who aren’t in the know: he plays Marshall on HIMYM) His voice woke me out of my slumber, and I was mad because I thought Louie was watching HIMYM without me. Yes, I admit that is sad. Very sad.

I’m currently up to the last disc of Season 4, and then it will be time to catch up with the ten episodes that have aired for the current Season 5. My next dilemma: 8 pm hour on Monday already includes One Tree Hill and Heroes, my DVR can only record two shows at a time. It may seem like an obvious choice to most, but I’m glad I have a month to deal with this.

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Went to See Carrot Top last night and it was absolutely amazing. I wasn’t sure what to expect but when I left there my jaw hurt from laughing the entire show. Yeah he might be funny looking and look like he is on steroids, but he is a brilliant comic. His timing and delivery was on point. His use of of props and gags is out of this world. No one was safe when it came to cracking jokes and using props – Criss Angel, Tiger Woods, Terrel Owens and even the Luxor Hotel were the brunt of some of his funnier jokes. I was even more impressed with how much he made fun of himself. GREAT SHOW and I highly recommend going to see it if you get the chance.

-CP

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This movie has been out on DVD for a while, and if you’re looking for a movie that makes you cry with laughter, then I recommend you rent it (or heck, buy it!). 

Forgetting Sarah Marshall stars and is written by Jason Segal (How I Met Your Mother, I Love You Man, Knocked Up and countless more) and shows the breakup between Peter (Segal) a musician who has yet to find his true calling and Sarah Marshall (played by Kristen Bell) a famous television actress. Sarah breaks up with Peter after five years together, leaving him for infamous british rock star Aldous Snow (played by hilarious comedic talent Russell Brand) and causing him to spiral into a pathetic state of depression.

With a push from his half-brother Brian (Bill Hader) Peter decides to leave the country and the constant reminders of Sarah, and flies to the beautiful island of Hawaii. Once there, he checks into a beautiful resort where – to his surprise, dismay and burgeoning hope – he runs into Sarah and Aldous, who are also holidaying at the resort together. 

The rest of the movie is a brilliant, witty and laugh out loud journey where Peter both finds who he is and what he really wants in life. One of the resort workers, Rachel Jansen (Mila Kunis) helps Peter to relax and have fun, and along the way a romance blooms. Other characters include Chuck (Paul Rudd) a stoner surf instructor, Darald (Jack McBrayer) a newly wed on his honeymoon whose major crisis is how to bring god into the bedroom for the first time and Matthew (Jonah Hill) the resorts loser waiter who is absolutely obsessed with Aldous and wants to follow in his rock-god footsteps. 

This movie is brilliant. Not only is it one of the funniest movies I have watched in a while, but it is also painfully brutal when it comes to the truth behind relationships. Sometimes, it isn’t black and white, not just one persons fault. One of those odd comedies that actually gets you thinking. 

Warning, it can be delightfully rude and there is a bit of nudity – though not from who you’d expect! This is a great movie to watch with mates or even an ice-breaker for a first date. It’s just great!

Forgetting Sarah Marshall

This is a real 911 Call. This guy thought it was ok to request a police escort for his 350 mile trek to see Lil Wayne in Miami. When the operator say no – he asked for a helicopter.. all because he didn’t want to get pulled over for speeding…IDIOT

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http://www.imdb.com/title/tt0800039/

So you know that one comedy movie that you saw before that looked crappy but ended up being funny as all hell? Yeah that’s this movie.

I really went into this movie not expecting anything even remotely funny in it with the exception of what I saw in the trailer. It turned out that the movie was way funnier than I ever expected it to be.

Now one thing to be weary of, was the male nudity. I did not see it coming, and even though I warned you, you will not see it coming either. It is awkward to see male nudity in any movie. But when it’s a decently famous guy on top of it, it throws you off even more. I was not prepared for it. However the massive amount of female nudity made up for it. I honestly would not have minded it whatsoever, but it came out of nowhere.

Now the plot of the movie is simple, but that’s where it leaves the best room for interpretation and it also allows you to focus on the comedy aspect more than anything. Basically its girl breaks up with dude. Dude breaks down because girl was already seeing someone else. Dude cries like a baby. Best friend of dude talks dude into going on vacation. Dude goes to vacation in Hawaii. Dude runs into ex-girl in Hawaii. Hilarity ensues. Really not a bad plot, and it was rather unexpectant at times.

Now let’s talk awesomeness. I never in my life have ever wanted to go to a puppet show in person until I saw this movie. It made me so excited with glee that after I was done watching I actually went on a search for the puppet show to see if it existed, and I was disappointed to find out that it was all made up. It was seriously that awesome and I have yet to meet a person who does not agree with me. I WANT TO SEE IT!

Really there is just so much to this movie that it’s hard to touch on everything. For it being such a simple plot they sure as hell packed a lot of stuff into it. But my biggest disappointment has to be that when I saw Mila Kunis tits in this movie, I had to find out if they were real or not. Turns out some dick did an amazing Photoshop job on it and the picture is indeed a fake. That made me make a sad face.

All in all though it was a damned good watch, I could honestly watch this movie 200 times and still find something else to laugh at. This is honestly one of the best comedies I have ever seen.

Base Score = 8
-1 for male nudity
+2 for lots of female nudity
+1 for Vampire puppet show
-1 for fake Mila Kunis tits.
= 9/10

Here’s a video of Jason Segel (How I Met Your Mother, Forgetting Sarah Marshall) singing a song with The Swell Season (Once).  At first I thought he was actually going to play a serious and sweet song… I’m ashamed that I thought that.  Luckily, he performed a hilarious pop ballad with the digits to a phone number that has been disconnected.  Bravo.

Jason Segal joined Marketa Irglova and Glen Hansard (of The Swell Season) on stage to perform an original song he wrote. Hilarity and perfection ensue.

Now if only he’ll write and produce a full play of “Dracula’s Lament.” We can dream, can’t we?

I’m fucking obsessed with this. What’s not to love? Puppets? Fucks my shit up. Queen? Freddie Mercury was from Zanzibar, thus awesome.

Hence, I love the Muppets. And Sesame Street, which will be the only TV show my children will be allowed to watch until they’re old enough to understand 30 Rock.

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There are few more satisfying things in life than discovering two separate (and disparate) awesome things can combine together to form a single, even more awesome thing.

For every peanut butter and bubblegum letdown, there is a Jason Segal and Swell Season moment of clarity.

The freakishly tall Judd Apatow running mate is no stranger to music, having played a drummer in beloved television series Freaks and Geeks before penning a vampire musical in Forgetting Sarah Marshall. With puppets!

Segal recently hopped on stage with the once Once couple and sang a song that really cuts through a lot of the bullshit in today’s society. Who knew being honest could be so sweet? This song was in fact so incredible the crowd began singing along to the chorus. Did I mention the chorus was Segal’s phone number?

Perhaps Markéta Irglová and Glen Hansard could learn a little about song writing from their non-special effects altered friend.

And no, I haven’t called 315-329-6673 yet, but please come back to report your results if you do.

Vid after the jump.

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Love Once. Love Forgetting Sarah Marshall. Yay. They are together.

Love this