Film Review: The Bubble (dir by Judd Apatow)


The Bubble is the latest film from Judd Apatow.  Taking place during the first year of the COVID pandemic, it follows a small group of actors as they attempt to make the sixth installment of the Cliff Beasts franchise.  The spoiled, pampered, and pretentious actors find themselves isolated, not allowed to go anywhere other than the set or the hotel.  The film becomes a disaster as the actors are driven mad by all the rules and the inconvenience that comes along with trying to make a film in the middle of the global pandemic.  When the studio hires a security team to keep anyone from escaping, things get only dumber.

Even by the standards of what we’ve come to expect from Judd Apatow, The Bubble is a notably messy and self-indulgent film.  It’s a bit of a shame really because there’s much about the Pandemic that not only deserves to be satirized but also needs to be satirized.  For much of society, satire will be an important step on the road back to sanity.  Unfortunately, the humor in The Bubble often falls flat because Apatow doesn’t seem to really be sure what his main target is.  Is he targeting COVID hysteria?  Is he targeting the pampered rich people who treated the pandemic like a two-year vacation while people who actually lived paycheck-to-paycheck were risking their health just so they could pay their bills?  Is he targeting bad action movies or pretentious indie directors or actors who think that the world revolves around them?  When Maude Apatow shows up as a TikTok star who has been given a role because she has 2,000,000 followers, is Apatow aiming at the shallowness of social media or is he poking fun at the older generation that can’t understand the kids and their wild and wacky ways?  Apatow seems to be going after everything and everyone but, at the same time, he also expects us to care about these characters when they start demanding to be allowed to leave the set.

The film’s action doesn’t really follow any sort of real storyline.  Instead, it feels like a collection of skits, all piled on top of each other and all dragging on for a bit too long.  Though The Bubble is shorter than the average Apatow film, it’s still over two hours long.  After the first hour, the film suddenly becomes obsessed with random dance scenes.  Usually, I love random dance scenes but, in this case, there’s really no humor or point to them beyond saying, “Wow, these people suck at dancing.”  It’s funny the first time but, by the fourth time, it starts to feel a bit lazy.  The film is like the improv student who, instead of building on the situation and working with his scene partners, just shouts out whatever pops into his head and begs the audience for a laugh.  The film does end on what would be a clever touch if not for the fact that it’s all pretty much lifted from the final scenes of Tropic Thunder.

Lest anyone think that I’m totally trashing the film, I did chuckle a few times.  There’s a recurring bit with Kate McKinnon’s studio exec constantly being at either the beach or on safari.  That made me laugh.  And Keegan-Michael Key, as an actor who has written a spiritual guide, delivers the majority of his lines with just the right amount of self-importance.  For the most part, though, The Bubble falls flat.  This is not the Netflix film to watch this weekend.

No Safe Space: Drunk Stoned Brilliant Dead: The Story Of The National Lampoon (2015, directed by Douglas Tirola)

Drunk_Stoned_Brilliant_Dead_PosterThe documentary Drunk Stoned Brilliant Dead pays tribute to National Lampoon.  Founded in 1970, National Lampoon was published for 28 years and, at the height of its popularity, its sensibility redefined American comedy.  When it came to National Lampoon, nothing was sacred and nothing was off-limits.  The success of National Lampoon led to a stage show called Lemmings and The National Lampoon Radio Hour, which featured everyone from John Belushi and Bill Murray to Chevy Chase and Harold Ramis.  Michael O’Donoghue, famed for his impersonations of celebrities having needless inserted into their eyes, went from writing for the Lampoon to serving as Saturday Night Live‘s first head writer.  National Lampoon’s Animal House, Vacation, and Caddyshack are three of the most influential film comedies ever made.  Everyone from P.J. O’Rourke to John Hughes to The Simpsons‘ Al Jean got their start at National Lampoon.

As influential as it was, National Lampoon is a magazine that would not be able to exist today’s world.  Just looking at the cover of most issues of National Lampoon would reduce today’s special little snowflakes to the point of hysteria.  In Drunk Stoned Brilliant Dead, National Lampoon‘s publisher claims that the Lampoon ultimately ceased publication because the religious right threatened to boycott any company that advertised in the magazine.  Today, it would be the “safe space” crowd complaining that the magazine did not come with proper trigger warnings.  Lena Dunham would look at one issue and go into a rage spiral.  Salon would publish a hundred hand-wringing think pieces about how National Lampoon was the worst thing since Ted Cruz.  Colleges would ban it and religious groups would still burn it.  National Lampoon was a magazine that went out of its way to be offensive to both the left and the right but, as editor-in-chief Tony Hendra puts it, the job of satire is to make those in power feel uncomfortable.  By poking fun at everything and challenging its readers, National Lampoon exposed the absurdity behind both the country’s prejudices and some of its most sacred beliefs.

Kennedy VW Ad

Drunk Stoned Brilliant Dead follows the National Lampoon from its founding to its ignominious end.  Along with interviews with Lampoon alumni, it also features archival footage of both Lemmings and The Radio Show, providing glimpses of  Christopher Guest, Bill Murray, John Belushi, Gilda Radner, and Harold Ramis before they became famous.  There are also interviews with celebrity admirers of the Lampoon who talk about how the magazine inspired their own work.  It makes sense that Judd Apatow was interviewed and Kevin Bacon made his screen debut in Animal House but what was Billy Bob Thornton doing there?

Unfortunately, drunk, stoned, brilliant, and dead describes some of the most important and talented figures in the Lampoon‘s history.  The documentary especially focuses on Doug Kenney, the Lampoon’s co-founder.  Everyone interviewed agrees that Kenney was a comedic genius who was also often emotionally troubled and who would vanish for months on end.  After the initial critical failure of Caddyshack, Kenney disappeared in Hawaii.  His body was later discovered at the bottom of the cliff.  Did Kenney jump or did he slip or, as director John Landis suggests, was he murdered by a drug dealer?  Nobody seems to know but Kenney’s ghost haunts the documentary.  This collection of very funny people get very serious when it comes time to talk about Kenney’s death.  Even Chevy Chase briefly redeems himself after years of bad publicity when he gets choked up.

Drunk Stoned Brilliant Dead is tribute to both a magazine and a bygone era.  See it before it gets banned.


Playing Catch-Up With 6 Mini-Reviews: Amy, Gloria, Pitch Perfect 2, Sisters, Spy, Trainwreck


Amy (dir by Asif Kapadia)

Amy opens with brilliant and, in its way, heartbreaking footage of a 14 year-old Amy Winehouse and a friend singing Happy Birthday at a party.  Even though she’s singing deliberately off-key and going over-the-top (as we all tend to do when we sing Happy Birthday), you can tell that Amy was a star from the beginning.  She’s obviously enjoying performing and being the center of attention and, try as you might, it’s impossible not to contrast the joy of her Happy Birthday with the sadness of her later life.

A star whose music touched millions (including me), Amy Winehouse was ultimately betrayed by a world that both wanted to take advantage of her talent and to revel in her subsequent notoriety.  It’s often said the Amy was self-destructive but, if anything, the world conspired to destroy her.  By focusing on footage of Amy both in public and private and eschewing the usual “talking head” format of most documentaries, Amy pays tribute to both Amy Winehouse and reminds us of what a great talent we all lost in 2011.


Gloria (dir by Christian Keller)

The Mexican film Gloria is a musical biopic of Gloria Trevi (played by Sofia Espinosa), a singer whose subversive songs and sexual image made her a superstar in Latin America and challenged the conventional morality of Catholic-dominated establishment.  Her manager and lover was the controversial Sergio Andrade (Marco Perez).  The movie follows Gloria from her first audition for the manipulative Sergio to her arrest (along with Sergio) on charges of corrupting minors.  It’s an interesting and still controversial story and Gloria tells it well, with Espinosa and Perez both giving excellent performances.


Pitch Perfect 2 (dir by Elizabeth Banks)

The Bellas are back!  As I think I’ve mentioned a few times on this site, I really loved the first Pitch Perfect.  In fact, I loved it so much that I was a bit concerned about the sequel.  After all, sequels are never as good as the original and I was dreading the idea of the legacy of the first film being tarnished.

But the sequel actually works pretty well.  It’s a bit more cartoonish than the first film.  After three years at reigning ICCA champions, the Bellas are expelled from competition after Fat Amy (Rebel Wilson) accidentally flashes the President.  The only way for the Bellas to get the suspension lifted is to win the World Championship of A Capella.  The plot, to be honest, really isn’t that important.  You’re watching the film for the music and the interplay of the Bellas and, on those two counts, the film totally delivers.

It should be noted that Elizabeth Banks had a great 2015.  Not only did she give a great performance in Love & Mercy but she also made a respectable feature directing debut with Pitch Perfect 2.


Sisters (dir by Jason Moore)

It’s interesting how opinions can change.  For the longest time, I really liked Tina Fey and I thought that Amy Poehler was kind of overrated.  But, over the past two years, I’ve changed my opinion.  Now, I like Amy Poehler and Tina Fey kind of gets on my nerves.  The best way that I can explain it is to say that Tina Fey just seems like the type who would judge me for wearing a short skirt and that would get old quickly, seeing as how I happen to like showing off my legs.

Anyway, in Sisters, Tina and Amy play sisters!  (Shocking, I know.)  Amy is the responsible one who has just gotten a divorce and who wants to make everyone’s life better.  Tina is the irresponsible one who refuses to accept that she’s no longer a teenager.  When their parents announce that they’re selling the house where they grew up, Amy and Tina decide to throw one last party.  Complications ensue.

I actually had two very different reactions to Sisters.  On the one hand, as a self-declared film critic, it was easy for me to spot the obvious flaw with Sisters.  Tina and Amy should have switched roles because Tina Fey is simply not believable as someone who lives to have fun.  Sometimes, it’s smart to cast against type but it really doesn’t work here.

However, as the youngest of four sisters, there was a lot of Sisters that I related to.  I saw Sisters with my sister, the Dazzling Erin, and even if the film did not work overall, there were still a lot of little scenes that made us smile and go, “That’s just like us.”  In fact, I think they should remake Sisters and they should let me and Erin star in it.


Spy (dir by Paul Feig)

There were a lot of very good spy films released in 2015 and SPECTRE was not one of them.  In fact, the more I think about it, the more disappointed I am with the latest Bond film.  It’s not so much that SPECTRE was terrible as there just wasn’t anything particular memorable about it.  When we watch a film about secret agents saving the world, we expect at least a few memorable lines and performances.

Now, if you want to see a memorable spy movie, I suggest seeing Spy.  Not only is Spy one of the funniest movies of the year, it’s also a pretty good espionage film.  Director Paul Feig manages to strike the perfect balance between humor and action.  One of the joys of seeing CIA employee Susan Cooper (Melissa McCarthy) finally get to enter the field and do spy stuff is the fact that there are real stakes involved.  Susan is not only saving the world but, in the film’s best scenes, she’s having a lot of fun doing it and, for that matter, McCarthy is obviously having a lot of fun playing Susan and those of us in the audience are having a lot of fun watching as well.

Spy also features Jason Statham as a more traditional action hero.  Statham is hilarious as he sends up his own macho image.  Seriously, who would have guessed that he could such a funny actor?  Here’s hoping that he, McCarthy, and Feig will all return for the inevitable sequel.


Trainwreck (dir by Judd Apatow)

There’s a lot of great things that can be said about Trainwreck.  Not only was it the funniest film of 2015 but it also announced to the world that Amy Schumer’s a star.  It was a romantic comedy for the 21st Century, one that defied all of the conventional BS about what has to happen in a romcom.  This a film for all of us because, let’s just be honest here, we’ve all been a trainwreck at some point in our life.

But for me, the heart of the film was truly to be found in the relationship between Amy and her younger sister, Kim (Brie Larson).  Whether fighting over what to do with their irresponsible father (Colin Quinn) or insulting each other’s life choices, their relationship is the strongest part of the film.  If Brie Larson wasn’t already guaranteed an Oscar nomination for Room, I’d demand that she get one for Trainwreck.  For that matter, Amy Schumer deserves one as well.

Seriously, it’s about time the trainwrecks of the world had a film that we could truly call our own.

An Underrated Quickie With Lisa Marie: The Five-Year Engagement (dir. by Nicholas Stoller)

When Jeff and I recently went to see The Five-Year Engagement, we literally had the entire theater to ourselves.  Seriously, that evening, we were apparently the only two people who took a look at the showtimes for the AMC Valley View and say, “Let’s see the Five-Year Engagement.” 

Now, I’m not complaining because, quite frankly, we enjoyed having that theater to ourselves. However, later that night, I found myself thinking about the empty theater and the fact that very few of the film lovers in my circle of friends had expressed much interest in The Five-Year Engagement.  The critics, in general, have been kind to the film but audiences seem to view it as a Netflix film at best. 

That’s a shame because, oh my God, The Five-Year Engagement is such a sweet film!  Seriously, I loved this movie!

Produced by Judd Apatow and directed by Nicholas Stoller, The Five-Year Engagement is a romantic comedy about a chef (played, quite well, by Jason Segal) and a psychologist (played by Emily Blunt, who is apparently destined to star in 65% of the romantic comedies released this year) who get engaged and end up remaining engaged for the next five years as the marriage ceremony is continually delayed by everything from Segal’s best friend marrying Blunt’s sister to the couple moving to Ann Arbor when Blunt gets a job working at the University of Michigan.  Along the way, various relatives die while still waiting for the blessed event and Segal and Blunt’s relationship struggles to survive against the distractions of everyday life.

The Five-Year Engagement isn’t a perfect film.  As often seems to happen with films produced by Judd Apatow, the film is about 20 minutes too long and sometimes the mix of sentimentality and crudeness is a bit awkward.  I could have done without an extended sequence in which Jason Segal (after having settled into life in Michigan) is revealed to have briefly turned into a crossbow-weilding survivalist. 

However, in the end, those flaws don’t matter because the Five-Year Engagement is, at heart, a sincerely sweet movie.  Jason Segal and Emily Blunt have a very real and very likable chemistry.  They make for a cute couple and you really find yourself hoping that they stay together.  Playing, respectively, Segal’s best friend and Blunt’s sister, Chris Pratt and Alison Brie both provide strong comedic support.  One of my favorite moments features Brie attempting to give a toast at Segal and Blunt’s engagement party and quickly dissolving into teary gibberish.  (Admitedly, one reason I loved this scene is because I did the same thing when I attempted to give a toast at my sister Megan’s wedding.)  Brie and Blunt also have another hilarious scene where they find themselves discussing realtionship matters while pretending to be Elmo and Cookie Monster.  It’s an odd but ultimately truthful moment.

Ignore the naysayers.  The Five-Year Engagement is sweet movie that deserves to be seen.