The 50 Worst Films of the Decade, 10-1

Sorry for the delay, everyone...Christmas plans interrupted the movie-list project.  But we're back on track.  Keep an eye out for the "50 Best Films of the Decade" list, coming your way each day until the new year!

I'll tell you right now, long-time readers of this blog, the pick for Worst Film, #1, is going to be a surprise.  Hatred of Zach Braff and his film, "Garden State" was a MAJOR theme of this blog, back in the early days of Crushed by Inertia.  At one time, this site was high-ranking indeed in search engines for keywords relating to Braff and his self-serving little movie that sort of single-handedly killed the whole concept of an "indie film."

It's good enough for #2 on this list, but something I saw after "GS" managed to be EVEN MORE EXCRUCIATING.  What could it be?  Press on, dear reader, and let's find out together...

10. Elizabethtown (2005)

"Garden State" was not an isolated phenomenon in the realm of shitty romantic comedy-dramas, but adhered to a tried-and-true formula, an entire sub-genre, if you will, about straight-laced sad sacks who meet free-wheeling, twee, gorgeous fantasy women living life unpredictably.  It has come to be known as the "Manic Pixie Dream Girl" phenomenon, and "Garden State" is merely its most self-important and odious manifestation.  This ridiculously-poor Cameron Crowe outing is the runner-up.  Orlando Bloom has had some problems at work, and is about to kill himself when he gets a call informing him his father has passed away.  En route to his hometown for the funeral, he meets flight attendant Kirsten Dunst, not so much playing a character as a masturbatory fantasy for sad loners.  She has absolutely no life of her own, and decides to devote all of her energy to making Orlando happy again, usually with bromides about how life is for the living.  But that's when she's allowed to speak...for most of the movie, the couple falls in love in the background while contemporary popular music (a Crowe staple) plays on the soundtrack, so we don't actually get to hear what they're saying.  Which is probably just as well.  This is not exactly a movie about ideas to begin with, but rather a cinematic Hallmark card, recycling worn cliches yet again out of more tradition than anything else.  For when you care enough to send...SOMETHING.

9. A Sound of Thunder (2005)

"A Sound of Thunder" was never actually finished.  The production essentially ran out of money before the effects work was completed, so a lot of the CGI is INCREDIBLY unpolished and malformed.  But it's not like the movie was going to be good, even if it had more time to gestate.  So it's basically like watching a Behind-the-Scenes featurette for a really awful science-fiction film that never came out.  The movie-that-could-have-been was about a future where time travel is possible, and thus hunters use it to travel back and shoot dinosaurs for sport.  (Obviously!)  But though they can kill one dinosaur over and over again safely, without it impacting anything else in the space-time continuum, when one hunter steps on a butterfly, it causes the future to get constantly interrupted by "time waves." (Read: convenient plot devices that crop up at exactly the moment needed to move things along, and cause exactly the sort of change/crisis that works within the story at the time.)  These largely consist of monsters suddenly appearing, which I guess now exist because time has gotten all screwy.  Ben Kingsley, the patron saint of awful, high-concept science-fiction movies, has a few theories.  So, as you can see, this would have sucked regardless.  In fact, it's probably a bit more watchable now when it's essentially some mock-ups and test shots that have been loosely patched together to get back at least a fraction of the up-front costs on DVD.

8. Wicker Man (2006)

I sort of feel bad even PUTTING "Wicker Man" on this list, because it really is one of those movies that's so terrible, it's kind of spellbinding.  Neil LaBute's completely insane redo of the campy British horror-comedy original starts by making the movie deadly serious and sincere, a straight-forward horror film. LaBute then proceeds in putting Nicolas Cage through some of the most wild-eyed, overly-theatrical hysterics of his or anyone else's career.  A montage of brief Cage scenes from this film, with no commentary or outside material added, is one of the most hilarious videos on all of YouTube.  The fact that we're watching a recognizable, award-winning movie star putting on a bear suit, riding around on a bicycle, stopping only to punch women, and screaming about being covered in bees, is funny enough, but the fact that the movie actually means to SCARE US with this material just moves it into an entirely new realm of batshittery.  How could any filmmaker be so disconnected from his audience, to think something so ridiculous could be frightening?  It would be like watching "Sesame Street" and then having Frank Oz explain to you that it was supposed to be about the Irish potato famine.  ("See, it's not EASY being GREEN!")

7. My Big Fat Greek Wedding (2002)

I'd say "My Big Fat Greek Wedding" is a bad sitcom standing in for a film, but even bad sitcoms know better than to employ this extremely tired, hacky style any more.  In fact, they tried to turn the movie INTO a sitcom afterwards, a natural fit, and they couldn't even keep it on the air.  "According to Jim" was just too much competition for Nia Vardalos...She's not up to taking on the J-Man.  Nominally a story about a very Greek family from Greece, it really doesn't offer much in the way of genuine cultural observations; "we're tight-knit!" "the guys are softies but they try to act tough!" "we love to eat!" "we talk with our hands!"  What ethnic group DOESN'T identify with these kinds of tired tropes, and indeed, what ethnic (read: non-Anglo-Saxon) character in any mainstream comedy already doesn't behave in this way?  Even when the film abandons the "my crazy family!" schtick, it just falls back on more trite conventions, right down to the pretty but insecure girl who comes out of her shell by taking off her glasses.  You get the feeling Vardalos hasn't really updated her act since a 1987 open mic, and ran out of her go-to bits halfway through the first act.  Why mainstream audiences ate up this crap 7 years ago, I will never know.

6. 300 (2006)

I found "300," a much-beloved celebration of blood, guts and preening masculinity, highly distasteful on two levels. (1) Its worldview and political perspective is a monstrous, top-down confirmation of all the worst impulses of the Bush Era/Oughts, making this really one of the key films of the past decade.  It takes a specific, real historical event  - The Battle of Thermopylae - robs it of any and all genuine context, and sets it in a modern reality where it can serve as an "Us vs. Them" rallying cry for xenophobic Westerners living in fear of immigrants and homosexuals waiting to invade their countries and fundamentally alter their sheltered, privileged way of life.  The film depicts Spartans, its white manly-man heroes, as forthright, brave Adonises and their foes, the Persians, as a variety of mutants, perverts and deviants.  It insists on repeatedly criticizing homosexuals (the Persian army brings lesbians along with them for some reason, and the Spartans at one time deride Athenians as "boy-lovers") for reasons totally unconnected to the film's theme or plot, and in spite of the fact that the real historical Spartans themselves engaged in hot, steamy acts of boy-loving pretty regularly.  Finally, the movie is just a glorification of violence of the most despicable kind, "war porn" that equates the notion of being patriotic with committing wanton acts of savagery.  There is no honor, no patriotism, no masculinity at all divorced from bashing other men's heads in.  Which, when you get right down to it, is just gross, and should be enough to turn off any action movie fan, no matter how prettily-rendered some of those head-bashings might be.

5. The Happening (2008)

No movie in the Top 50 Worst Films of the Decade list has a lamer premise than "The Happening."  Not a single one.  Do you have any idea how DIFFICULT that must be?  To get a movie made with a premise that's more banal and insipid than "K-Pax," "Gigli," "Rollerball," "Rat Race," "Evolution," "The Fountain," "Righteous Kill" and "The Dukes of Hazzard"?  HOLY SHIT.  I mean, despite his Wile E Coyote-esque success rate over the past few years, you've got to give M. Night Shyamalan some credit just for willing this movie into existence.  In the film, Mark Wahlberg and Zooey Deschanel take to the road, hoping to outrun killer plants that have gone haywire and started emitting a toxin that makes people commit suicide.  At one point, Wahlberg tries to reason with a plant, before discovering it's made of plastic.  They have a series of grim, not very believable or interesting encounters with other survivors that don't really go anywhere, and then the whole thing just ends as quickly and inexplicably as it begins.  That's all that happens, making the film's very title into a cruel joke at the viewer's expense.  This was also the first Shyamalan film without a twist ending, probably because the twist comes at the beginning...You've actually agreed to devote your time to a movie about murderous plants.  Ha ha ha ha ha!  I got you!

4. The Spirit (2008)

What can you say about something like "The Spirit"?  It's either an experiment gone awry, or a parody of the very notion of adapting comic books into films, or a desperate cry for help from writer/director Frank Miller.  Whatever the initial intent, what has resulted is one of the most amateurish, and frankly baffling, movies I have ever seen, a joyless, shrill, disjointed mess that was nominally inspired by Will Eisner's classic series of comics but really just stems from Mr. Miller's twin loves of the sophomoric and grotesque.  (An extended fight scene finds villain The Octopus hitting The Spirit with an entire toilet.  Ba Dum Bump, Ba Dum Bump, SPLAT!)  I'm VERY RARELY tempted to walk out of movies, as clearly, I have a fascination with shit cinema, but I thought about little else for this film's final hour.  I wavered between "I have to see the whole thing so I can speak intelligently later about why this is the worst thing ever" and "Oh man I have to get out of here oh my god now they're dressed as transvestite Nazis why this makes no sense I hate you Frank Miller I'm leaving."

3. Crash (2005)

Screenwriter Josh Olson summed up Paul Haggis' "Crash" more succinctly than I ever could, which is why he's the author of "History of Violence" and I write snarky blog posts about "The Spirit."  He said, and I quote: "It's like Paul Haggis just discovered there was racism YESTERDAY, and now he just HAS to tell you about it."  Haggis' film really has to be seen to be believed...It's so intensely naive, so myopic in its child-like view of racism, and so completely alien for any Los Angeles native, it almost has the feeling of a parody, like how a real fighter pilot might feel while watching "Hot Shots."  A series of interconnected characters, each given such BIG OBVIOUS roles to play that they may as well wear labels and nametags ("Hi, I'm Chris Bridges, I'll be portraying your Erudite Black Thug this evening.  Can I tell you about our specials?"), play out overblown mini-melodramas each dealing with some overly-simplified notion about race, none of which approach any insight deeper than "prejudice...BAD!"  I mean, forget even exploring anything provocative about class and race in modern-day Los Angeles...Haggis instead obsesses about the fact that even MINORITIES, who aren't even WHITE, can sometimes be racist themselves!  Whoa!  Also, you'd hope that a movie written by a grown man, a professional writer with previous credits to his name, would come off a little less plodding and forced. It's as if Haggis felt that discussing a serious issue gets you out of having to invent plausible narratives where one sequence logically follows another.  In order to make his insipid mish-mash hold together, Haggis has to resort to random spills down staircases, vans full of Asian slaves AND a little girl who can jump 4-feet into the air, into the pathways of bullets, without a running start.

2. Garden State

OK, my complaints about this film are, by now, well-known, and any casual search of the blog archives can turn up numerous, lengthy discussions as to what exactly upset my so much about Zach Braff's salute-to-himself.  I think, to cap off all of this discussion once and for all, I'd just like to point out how "Garden State," to this day, really does represent the least progressive, romantic, optimistic or uplifting view of love I have ever seen at the cinema.  Love, for Zach Braff, is when a drug-addled loser, permanently broken due to a severe childhood trauma, meets a hyperactive, insecure bundle of quirks who is willing to dote on him, fawn over him and generally provide him with all the maternal attention he's long been craving without expecting anything in return, and the two of them embark on a series of grim, largely inconclusive adventures during which they engage in undergraduate discussions of metaphysics, listen to popular music of the day and try to convince one another their lives are worth living despite the mound of evidence to the contrary.  If love were actually anything like that, we'd all be eunuchs.

1. Revolver (2006)

Yes, Guy Ritchie's completely nonsensical attempt at the "psychological thriller" genre is not just the worst film of the present decade, but quite possibly the worst film ever made.  Jason Statham stars as...well, okay, that's about it for actual summary. "Revolver" defies any attempt at paraphrasing.  Statements are made, things happen (or seem to happen) and then they are all sort of repeated and jumbled together, until the entire movie slides entirely into possibly-Kaballah-inspired gibberish.  There's a variety of decent actors trying their best here (plus Andre 3000!), but none of them seem to know what to make of these scenes, possibly because no two ideas thrown out in the movie ever seem to proceed to a logical conclusion or connect to one another.  So Ray Liotta just starts screaming, Vincent Pastore pretends like he can hold more than a single thought in his head at the same time and Jason Statham runs around and makes sexy tough guy faces.  Watching the movie is such a frustrating experience, it's almost like Ritchie designed it to disappoint at every turn.  Plotlines are established but not developed, characters are discussed but never introduced, and after investing an hour in trying to piece everything together, the movie basically just restarts from the beginning, finally cluing you in that nothing you have seen, up until now, actually was supposed to mean anything, and it's all just going to cycle through again anyway.  There are films like "The Discreet Charm of the Bourgeoisie," "Last Year at Marienbad" and "Lost Highway" that employ absurdity and repetition to great effect, enhancing certain themes or developing a compelling sequence by revisiting the same image, sound or idea again and again.  But Guy Ritchie is not playing on this level AT ALL.  He's just jerking us around hoping to stumble on to something profound.  He doesn't. 

HONORABLE MENTION: Swordfish (2001)

"Swordfish" is far too entertainingly bad to make a "worst films of the decade" list.  But I couldn't just ignore it or leave it off, either.  "Swordfish" presents just about every stupid cliche and dumb convention of the Mainstream Action Movie this decade, from "Matrix"-inspired bullet time trickery to crazy logic-defying "plot twists" to gratuitous hacking sequences that demonstrate a basic misunderstanding of computer science to villains who wear teeny tiny designer sunglasses.  The action is all shot in that Michael Bay-inspired quick-cut choppy style that really doesn't let you see much of anything, but here that matters a bit less, because most of the action is too physically improbable and cartoonish to inspire any real thrills or excitement.  Finally, some trivia: In 2001, "Swordfish" gained notoriety because it features a quick shot of Halle Berry's boobs, which also made a special guest appearance in another really terrible movie that very same year..."Monster's Ball."

The 50 Worst Films of the Decade, 20-11

The Top 20 was REALLY hard to divide up.  I can honestly say that I hate every single movie between now and the end.  For some, part of that hatred stems from disappointment...There are a few entries in the next list of 10 that I sort of figured I'd enjoy, only to be bitterly disappointed.  For others, there was really never any hope for them, and yet they've come out WORSE than anticipated.  Once again, I feel like there are 2 films, maybe 3, in this list that many readers enjoy.  I'm not saying they are wrong...Only that...Okay, no...I guess, I guess I'm saying they are wrong.  But I forgive them.

The 50 Worst Films of the Decade, 20-11

20. The Matrix Reloaded (2003)

I have heard ALL SORTS of defenses and apologias for the awe-inspiringly poor job the Wachowskis did of following up their surprise action mega-hit, "The Matrix."  The most ridiculous?  "You really have to know a lot about computer science to fully appreciate it."  Really?  Really?  That's like saying you need 3 years of culinary school to appreciate the intricacies of "Julie and Julia."  The movie's not boring, plodding and near-impossible to watch because it's so deep, but because the filmmakers have disappeared so far up their own assholes, you'd probably need to be a proctologist to fully appreciate it.  They've never really been that good at writing dialogue throughout their careers, but here, Larry and Andy force their actors to ramble on ceaselessly, like mental patients, taking eons to say absolutely nothing, yet constantly looking delighted with themselves all the same.  Abandoning pretty much the entirety of the first film's premise, and 100% of the promises implied by the final 30 minutes or so, "Matrix Reloaded" and its possibly-even-more-loathsome sequel set about creating a world of pointless, uninspired arcana, and build to what is, without a doubt, the most defeating and unsatisfying conclusion in big-budget trilogy HISTORY.

19. Appaloosa (2008)

Watching "Appaloosa" is sort of like watching a mediocre old school Western with all of the cool parts edited out, like when they show "Tombstone" on TBS.  I'm not sure Ed Harris (who wrote and directed the film, as well as starring in it) has ever SEEN a Western, and if he has, he was obviously distracted by something else at the time, cause he sort of missed the basic idea.  Here is a movie that sets up a lot of semi-interesting conflicts, but lacks sufficient interest or energy to actually follow up on any of them.  We're left with a series of gunfights that are called off at the last minute, face-offs that don't materialize, an exceptionally lethargic love triangle and...not much else.  The performances are just slack, so mellow that they barely even register, and Viggo Mortensen in particular would have to inject a few shots of adrenaline into his solar plexus to be considered somnambulant.  Harris seems to barely know where he is or what movie he's making half the time, and he's the writer/director.  Also, a word about Renee Zellweger's face.  GAAAAAAAAAAAHHHHHH!  I mean, what's going on there?  She looks like she was stung in the face by about 18 bees before appearing in every shot.  I'm not sure if she's had too much work done or if they were going for a sense of realism, creating a world where Benadryl did not yet exist, but something went very very wrong.  Also, casting Renee Zellweger as a femme fatale makes roughly the same amount of sense as casting Shelly Duvall as the World Heavyweight Champion.

18. Baby Boy (2001)

With "Baby Boy," John Singleton takes a very straight-forward, simple observation and literally extends it to feature-length through purely the power of repetition.  "Though there are clearly external factors at play, some potential reasons that many young black men struggle through life is that they are lazy, immature and lack good role models."  There, see what I did?  I saved you the trouble of watching "Baby Boy."  Because there's only so many ways you can make that point, and Singleton makes them all, and then doubles back and makes them all again 100 more times.  You have scenes where protagonist Jody (Tyrese Gibson, in the first of a long string of forgettable performances in shitty movies) is called lazy to his face by supporting characters, scenes where he behaves in an immature fashion only to suffer negative consequences AND scenes where he behaves in an immature fashion, and is then called lazy to his face by supporting characters.  So eager is Singleton to demonstrate his strong feelings on Jody's laziness and immaturity, he visually depicts Tyrese curled up inside a mocked-up version of a womb.  Cause he never really grew up!  Because, apparently, though there are clearly external factors at play, some potential reasons that many young black men struggle through life is that they are lazy, immature and lack good role models!  Did I mention that already? 

17. Speed Racer (2008)

Watching "Speed Racer" is like eating a handful of Runts, then running around in a circle SO FAST and SO LONG that you start to throw-up, but instead of tumbling to the floor, the vomit is pulled by centrifugal force right back into your face.  So immersed is the film in a spastic, computer-generated universe of whiz-bang, it quickly becomes totally untethered from any kind of physical reality.  The actors disappear entirely into the florescent backgrounds, and to call the action sequences "cartoonish" would be an insult to the careful mimicry of reality and intuitive understanding of the world's physical properties demonstrated by the animators of "Snagglepuss."  This means that NOT ONLY do the endless racing sequences (it is nominally a film about car racing) lack any kind of visceral impact, but the dramatic scenes, which seem to last even longer, are just completely dead on arrival.  And let's not even get into the atrocious attempts at "comic relief," most of which consist of an unfortunate child actor named Paulie Litt, who has been encouraged to bug out his eyes and mug for the camera incessantly in lieu of giving an actual performance.  It's literally painful to watch, like what would happen if the Hot Wheels Corporation were given 3 hours of network airtime to hawk their product as they wished.

16. I Know Who Killed Me (2007)

"I Know Who Killed Me" seems to have been based on the principle that a movie's popularity is directly proportional to how unpleasant it is to watch (possibly due to the massive success of the "Saw" franchise?)  If judged by this standard, it's clearly a huge success; a lurid, unrepentantly sleazy, gruesome and ugly tour de force of unpleasantness.  Lindsay Lohan takes on the dual role of a suburban good girl and a lonely, desperate stripper; when the suburban girl is kidnapped by a serial killer, the other one appears in her stead.  Is she the same girl, suffering from amnesia or other post-traumatic stress?  Or has there actually been some kind of Stripper Swap, which would also, I should note, be a great set-up for a reality series? That's about it for the basic set-up...For some reason, suburban Lohan can't be found, or thinks she's stripper Lohan, or something.  I'd call Lohan out for bumbling distractedly through the movie without ever once investing in the scenario...but I can't really blame her.  There's nothing here to maintain her interest, and she was getting invited to what I'm sure were some kickass parties at the time.  But unfortunately, that doesn't give the audience much to hold our attention save some totally unnecessary and completely tasteless torture sequences, and a climax that may be the most inane, stupid "plot twist" imaginable.  I promise that you'll never guess the secret behind the Double Lohan Convergence, but that's because it's entirely ludicrous, as opposed to, say, oh, I don't know, clever.  (So ludicrous, in fact, that the movie has to have radio personality Art Bell appear in the movie on a TV assuring us that, indeed, there have been reports of this plot twist happening.)

15. K-PAX (2001)

"K-PAX" is just another retread of "One Flew Over the Cuckoo's Next," but with aliens!  $20 says that was the pitch meeting in its entirety.  I've really yet to see a post-"Cuckoo's Next" movie set in an insane asylum that doesn't, on some level, just rip off that movie's basic dynamic.  ("12 Monkeys" gets sort of close, but it's really not about the mental institution for long).  "K-PAX" adds the element that one of the crazies, who thinks he's an alien (and is played by Kevin Spacey), may actually be telling the truth.  At least, he spins a yarn well enough to fascinate his doctor (played by Jeff Bridges).  Now, at this point, you're probably saying to yourself, "hmm...I wonder whether he really is just a crazy guy or an alien...What an intriguing puzzle!"  Ha ha!  Not really!  Because the movie basically refuses to make up its mind, at all, and therefore can't ever actually DEVELOP.  To have a complete story in which we could emotionally invest, and that would inspire some genuine emotion or discussion, we'd need to basically decide at some point whether this is a movie about a mental patient or an alien in a human body.  But "K-PAX" refuses to pull the trigger, apparently thinking that setting up an unsolvable scenario (for how can you DISPROVE someone is an alien if they have a witty rejoinder for every hole you'd try to poke in the scenario?) is enough momentum for an entire film.  So you get the 1 hundred billionth movie about the fun of life in the nuthouse, that treats crazy people like adorable pets, cute cuddly objects that make you feel better about yourself but have no real inner life of their own, and then it sort of ends, ponderously.  It's a good thing people in mental hospitals probably don't watch movies set in mental hospitals.  I'd have to think even they'd know well enough to be insulted.

14. Lady in the Water (2006)

M. Night Shyamalan needs to fucking check himself.  I'm not sure anyone has ever made a more egomaniacal, self-serving film than "Lady in the Water," and it's not like he was coming off of the "Apu Trilogy" just before or anything.  I'm not sure if, after making "The Village," you've really earned a victory lap.  But I'm not even exaggerating when I say that Shyamalan has made a film in which he himself stars as the greatest writer in the history of the world, whose work will inspire a global, positive change.  Not only that, but he takes time out to show a scene of a film critic - a character who, in the reality of the film, doubts the supremacy of the character played by M Night Shyamalan - get brutally eviscerated by a cartoon wolf.  In case, you know, we missed the point, that he's a genius and those who doubt him should die like pigs in hell.  Barely-concealed subtext aside, the movie is just shoddily made and poorly conceived.  The main characters are presented with very few challenges and no conflict beyond a fear of invisible creatures...The sole action taken by the film's janitor protagonist (gamely but half-heartedly played by Paul Giamatti) to solve the mystery of the creature who has shown up in an apartment building's pool is to convince one of the resident's to tell him the plot.  For real.  This leads to a string of sequences SO TRANSPARENT, clunky and lazy, in which a pointless supporting character with no inner life just explains from memory what's going on, that I was frankly shocked.  This should really get Manoj kicked out of the WGA.  A beginning screenwriting teacher would not pass this, and suggest that the writer think of ways to INTEGRATE these details into the actual story itself, lest the audience get bored or restless.  At least, if you're going to craft a 2-hour fantasy film as an homage to your own power of imagination, come up with a way to get some exposition out there without a character just telling the audience the story, "Night."

13. Transformers (2007)

Not the sequel, "Transformers: Revenge of the Fallen"?  No, I think that film's a good deal better than its predecessor.  Here's why: With "Transformers 2," Michael Bay has essentially moved beyond the narrative film.  He dispenses with storytelling convention entirely.  Dialogue is not discernible.  Plots are reduced to their most barebones, minimalist formulation possible, almost to the point of breaking down the fourth wall and explaining to the viewer what's coming next.  Many scenes begin with characters literally starting sequences by announcing they have to find something (usually called by a semi-English word, such as "energon") and then proceeding to look for it.  Characters are identifiable only by insignia, or name, and even sometimes they're not given that much.  The first "Transformers,' on the other hand, actually still tried to work like a real movie, and therefore is much more notable as a disgusting, grating failure.  Here are my two largest complaints: (1) Michael Bay has no sense of humor.  It shouldn't be too hard to get a chuckle out of the far-out concept of an alien species of robots that can make themselves look like cars, but literally every single joke feels drawn-out and hacky.  (2) The Transformers don't really look like much, have terribly-designed unexpressive faces and all look identically the same.  They are so poorly designed, it makes all the action impossible to follow and the fight scenes meaningless...You can't even tell who's winning. Everything is reduced to a sharp metallic blur streaking across a screen for 160 minutes.

12. Battlefield Earth (2000)

Movies that aim for an epic scale, in this case a story about mankind's revolution against an alien race that has enslaved them in the Year 3000, without the resources to really deliver on their promises, are seemingly designed, from birth, to frustrate and disappoint audiences.  It'd be like putting a Slinky in a PS3 box.  Now, I've nothing against the Slinky.  It can be a fine toy that, theoretically, provide a child with tens of minutes of fun.  But it's not going to seem like much if you already got your kid excited for "Call of Duty: Modern Warfare 2."  That's setting up the toy to fail. "Battlefield Earth" aims to be a spectacle on the level of "Avatar."  Only without the $300 million.  Or circa-2009 effects technology.  Or James Cameron. What were they thinking?  Most of the blame was shifted to star and producer John Travolta at the time, who worked tirelessly to get this novel, written by his religion's founder, L. Ron Hubbard, adapted for the big screen.  But in truth, dozens of people must have come together at some point in time in the mid-to-late-'90s thinking that they could put one over on audience's everywhere. And I'm not just talking about "budget" here...You sense that, with $500 billion, director Roger Christian (the auteur behind, um, nothing else of note, ever) wouldn't have been capable of realizing 9-foot tall dreadlocked aliens played by Travolta and Forrest Whitaker or a scene where an entire planet is destroyed.  It's just beyond his capacity.

11. Nacho Libre (2006)

"Napoleon Dynamite," a Sundance hit that became one of the decade's biggest sleeper comedies, was beloved in part because it was so unassuming.  A simple story about a not particularly bright or confident teen, the movie felt personal, even poignant, and though it was often goofy, there was also a carefully-realized, observant quality, like getting a look at some bigger-than-life characters who inhabited a very real, small American town.  Director Jared Hess' massively wrong-headed follow-up, "Nacho Libre," abandons every single one of these principles.  It's a loud, stupid, obnoxious, totally absurd un-comedy in which Jack Black throwing himself around while speaking in a bad Mexican accent is meant to substitute for writing comical set-ups or jokes.  If I had to pick one word to describe the movie, that would be "offensive."  Not just offensive to Mexican people, though it is certainly that, depicting all of them as bizarre, antiquated stereotypes, and sometimes just using their physical appearance as, itself, a joke.  And not just offensive to overweight people, though it is certainly that as well, even stooping so low as to make a running joke out of the existence of an overweight CHILD.  (Ugh, even years later, I'm still upset by that.)  Nope, it's just offensive to common sense, decency and good taste, a slapdash attempt to substitute childish cruelty for humor, like a 6th grade bully trying to do stand-up.

RIP Brittany Murphy

Shocking news this morning that 32-year-old actress Brittany Murphy, who starred in a number of significant films of the '90s and '00s, has died from cardiac arrest. 

Without ever becoming a HUGE star, Murphy was just in so many popular movies that she kind of forced her way into the public consciousness.  "Clueless," "Girl Interrupted," "8 Mile," "Sin City"...it was eventually enough to get her a shot at her own vehicle, the little-seen "Little Black Book."  She had an over-the-top quality that was sort of sly, letting you know that she was AWARE that the performance was a bit heightened without ever completely obliterating the suspension of disbelief.  (It also matched her dramatic, expressive, almost anime-like facial features.)  Sometimes it went a bit too far - her "Sin City" performance is kind of ludicrous, particularly the part where Clive Owen races away after the bad guy and she calls out to him, "you damn fool!"  But most of the time it worked, and though the lovemaking-in-a-factory bit is extremely silly, she probably gives the overall best performance in "8 Mile" (which is, granted, hardly a acting masterclass.)

I totally forgot about this, but she was also the voice of Luanne from "King of the Hill."  That's a really full resume for a 32-year-old.  I'm sure she still had some good work left to do, which makes this day all the more tragic.  Mahalo's got more info about Brittany Murphy's untimely passing, if you're curious.  I'm sure more grim details will come out over the next few weeks.

Posted via email from Lon Harris

TWIYT #75, now with 50% more me getting hit in the face by members of The Station

via youtube.com

The final TWIYT of 2009 includes our year-end wrap up and, of course, more jokes about Tiger Woods and Lady Gaga! Because you demanded it (by which I mean you did not demand it but it artificially inflates our view count.)

Thanks to Kassem G for stopping by and attacking me!

Posted via web from Lon Harris

The 50 Worst Films of the Decade, 30-21

I'm finding that each group of 10 movies I'm posting contains 8 or so movies that are universally reviled...and then 2 controversial picks.  Let me just say...I had no idea how many of you like "Big Fish."  Really?  When was the last time you watched it?  I mean, even if everything else was really terrible but it just LOOKED awesome and Tim Burton-y, I could see forgiving it on purely aesthetic grounds, as I do with Burton's "Mars Attacks," "Batman Returns" and "Charlie and the Chocolate Factory."  But it's visuals are just as wan and uninteresting  as everything else!  I don't think of one single memorable shot or setting.

Anyway, I predict this list will continue said pattern.  8 or so nice, safe selections and then 2 films that were largely popular.  It's just my little way of saying, uh, suck it, I guess...

The 50 Worst Films of the Decade, 30-21

30. Domino (2005)

Keira Knightley's a less-than-impressive actress even when aiming perfectly within her range.  She plays non-conformist, headstrong women for a living, and performs, at her peak, in a minimally exceptional manner.  Asking her to go outside of her comfort zone, even just a teensy bit, is taking a pretty big risk.  Asking her to play a bounty hunter is like asking her to portray a club sandwich.  She can't do it, Tony Scott.  It's rude of you to even ask.  The result is a "movie" in which Knightley focuses all of her mental and physical energy on looking tough, and therefore absolutely nothing of consequence happens.  (The few things that DO happen are related to us in voice-over, as the movie's too busy being washed out and blurry to actually depict events.)  I'm not sure I've ever seen a film - even an avant-garde documentary - in which the protagonist has absolutely zero motivation.  If the great surrealist directors of the silent film era were to watch "Domino," they'd say, "Hang on, I'm not following this.  Shouldn't we understand more about the character's motivation?"  Domino Harvey, bounty hunter, is driven solely by the desire to make Keira Knightley appear tough.  She has wasted her life.

29. Pearl Harbor (2001)

Michael Bay's passion for history clearly begins and ends with The Big Bang, so I'm not even sure why the idea of directing a historical epic romance set against the backdrop of a foreign attack on US soil even appealed to him.  No sassy robots?  No wisecracking cops?  Fuck that noise.  Wanna do a remake of "Con Air"?  (I just realized that there is no movie on Earth more appropriate for Michael Bay to direct than a remake of "Con Air"!  He should just start doing remakes of shitty action movies from the last 20 years!  Michael Bay presents...an entirely new take on an old classic..."Drop Zone," coming this summer.)  Not so much an action movie (save for the bloated, spectacle-laden CGI orgy stuffed in the center), this is essentially a bad romance, except even Lady Gaga doesn't want it.  Of course we don't care whether Kate Beckinsale will end up with Josh Hartnett or Ben Affleck; it's clear Bay doesn't pay attention to the parts of his movies where characters are speaking.  He quite literally doesn't know what to do about dialogue.  This was his fourth major film as a director, and he had not yet even come close to putting together one successful scene of interpersonal drama that develops or enhances a conflict.  Not one.  Ever.

28. Superman Returns (2006)

Listen, not every comic book needs to be turned into a brooding, deeply serious cinematic contemplation about the nature of goodness and heroism.  Some comic books lend themselves to dark, intense movie treatments.  Batman comes immediately to mind.  Other comic books lend themselves to madcap, cartoonish theatrics and adventure, to far-out fantasies with an eye towards lifting an audience's spirits, rather than commiserating with them about the tragedy of modern life.  Like, you know, Superman.  Unfortunately, Bryan Singer chose to adapt a story that can easily be rendered into terrific entertainment ("Superman II" remains one of the greatest all-time comic book films) into the world's most dour and obvious Jesus metaphor.  I mean, the film opens with Lois Lane having won a Pulitzer for a recent "anti-Superman" editorial.  Could you even possibly devise a more effective way to suck all the fun out of a Superman than having his best girl win an award for trashing him in his alter-ego's paper?  Maybe we could get a pre-credit sequence of Jimmy Olsen just kicking him repeatedly in the balls, Bry...That do anything for you? I know you like your superheroes tortured, melancholic and survivors of the Holocaust, but some of us just want Superman to catch falling people, burn shit with his eyeballs and punch aliens.  Is that okay with you?  (Also, you couldn't have reminded Kevin Spacey that Bobby Darin was his LAST role and he's playing Lex Luthor now?  He looks ridiculous.)

27. Christmas with the Kranks (2004)

I saw this on a plane.  WOW.  This movie's take on contemporary American life, particularly as it concerns families living in the suburbs, is surprisingly grim.  I found the experience of watching it upsetting, as I do the sitcom "Everybody Loves Raymond."  It just hits too close to home...The jokes aren't good enough to cover the anger and desperation that's lurking JUST underneath the surface.  Tim Allen and Jamie Lee Curtis, depressed that their daughter has joined the Peace Corps and escaped their clinging, overbearing death grip, recognize that they are finally FREE of the burden of having to celebrate a holiday that apparently all you Christians are just pretending to like.  But before they can escape on a tropical getaway, an entire neighborhood of mean, self-centered louts attempt to make them feel terrible for no good reason.  It's supposed to be (guh?) funny and even (gasp!) RELATABLE, but it plays like something out of a horror film.  "Just leave the Kranks alone and let them go on a vacation, you bloodthirsty leeches!" I wanted to scream.  "Does anyone really care about winning a trophy for stapling small lights to the outside of their now-worthless McMansions?"  If "Christmas with the Kranks" resonates deeply with you, light yourself on fire.

26. Finding Neverland (2004)

Oh no he di'int.  Yeah, I did.  This movie blows.  It plays like the work of a person who has only ever made art for small children, and can't bring themself to trust an adult audience to think for itself and handle ambiguity. In the film, we see playwright JM Barrie (played by Johnny Depp) forsake his wife and his adult responsibilities to spend time with the sons of a platonic friend he meets in a park.  "Finding Neverland" chooses to see this as a dramatic statement about Barrie's free-spirited openness, and his child-like of wonder and delight with the world.  And that's it.  No other possibilities are examined, or even considered, other than the straight-forward interpretation that JM Barrie was a great man and he loved children and his wife was boring.  The end.  What an immature, dim-witted take on this material.  Director Marc Forster and screenwriter David Magee at no point even attempts to explore the possibility that there may be any other motive for Barrie's behavior, which any thinking person would concede is bizarre.  In one scene, a friend of Barrie's, Sir Arthur Conan Doyle, is asked whether he thinks that the interest in the 10-year-old boys may be inappropriately intimate, even sexual..."Of course not!," Sir Arthur insists, and it almost felt like Forster and Magee telling me to shut up and stop asking questions.  ("See!  That guy invented Sherlock Holmes.  What the hell do you know!  Don't ask questions, just feel sad when I kill 8 main characters in a row.")  But grown men with careers and families of their own don't often just decide that they'd rather spend their days in the company of 10 year olds, and I can't understand a movie that implies that they should.

25. Gigli (2003)



What is "Gigli" trying to say?  What is the meaning here?  It's SO awkward, and so alien, and such a complete and total failure as either an amusing comedy or compelling drama, there's really no way to review it in a conventional manner.  Jennifer Lopez and Ben Affleck play two criminals with very different styles - she a capable assassin, he a doofus from da neighborhood - who have to work together to kidnap a DA's retarded brother.  Oh, and she's a lesbian.  It feels a lot like a pitch you'd hear in a beginning screenwriting class...They've figured out that you need to have colorful, quirky characters and a solid conflict to work through over the course of three acts...but there's no sense of subtlety or craft.  Everything's just kind of thrown together disjointedly, with the hopes that the major beats can be fine-tuned on the next draft.  But as a much, it's far, far worse than that, because of the woefully hackneyed, on-da-nose dialogue and a pair of truly loathsome lead performances.  There's a surprising lack of on-screen chemistry between Affleck and Lopez (despite the fact that they were dating at the time this was made), but it may be because they're both too focused on their lame affectations to worry about supporting one another.

24. Catwoman (2004)

Usually, movies that are this terrible are sort of fun, but "Catwoman" won't even let you enjoy it on that level.  It's an incredibly turgid experience, made as if everyone involved just forgot that movies are supposed to be entertaining and occasionally contain suspense and incident.  "You mean you don't just put people in costumes and then shoot pictures of them?  DAMN, I knew we left something off the list."  It's also called Catwoman, and features an appropriate-looking woman (Halle Berry) in a recognizable cat costume, but it doesn't really have much to do with the character known as Catwoman, to the point that this feels like a "truth in advertising" problem as much as anyone else, like calling a movie "Friday the 13th" but just having it be about a real goalie who's never killed anyone.  Instead, we get a lot of hokey discussions of Egyptian mythology and Sharon Stone as an evil executive who wants to sell skin cream that turns you into a rock monster.  See?  That sounds like it could be humorous, right?  But it's not...I swear...

23. White Chicks (2004)

No one's saying that jokes based on racial differences CAN'T be funny.  I will grant that the concept of a joke aimed at noticing differences between white and black people is not, itself, inherently not funny.  I can imagine someone doing something with that as a starting point.  But "White Chicks" just tries to mine this one, largely inaccurate observation ("whites and blacks are different!") for an entire feature, and it sort of runs out of steam within the first 15 minutes.  (Oh, excuse me, the opening scene is actually about how blacks and Puerto Ricans are different.)  It's sort of shocking how fast the Wayans Brothers run out of genuine differences between black and white people...within the first half hour, they just have to start making up differences that don't exist.  One famous scene that was in the trailers shows the Wayans Brothers (very very unrealistically disguised as white women) riding in a car with two genuinely white women.  A country song comes on the radio and the white girls know it; the black guys have to fake their way through to keep up appearances.  Then a hip-hop song comes on and the black guys know it right away, but the white girls stare straight ahead, confused, like they have never even HEARD such a thing before in their lives.  But, of course, this was 2004, and millions of young white women listened to hip-hop, arguably the most popular genre of music in America today.  It's observational comedy based on an observation NO ONE HAS EVER MADE.  "Hey, you know who hates rap music?  White people!"  "They quite clearly don't." "So what about those airplane peanuts...Why are there so few of them in that bag?"

22. Rollerball (2002)

"Rollerball" is so amateurish and sloppy, it's like it was made by accident.  John McTiernan (who made "Die Hard" and "Predator" BACK-TO-BACK in the '80s!) went on a six-day coke binge, and when he woke up, there were a bunch of reels strewn about his house.  There's an extended (seriously, like 20 minutes) action sequence that's shot entirely in night vision!  Genius!  Clearly, McT felt that seeing splotchy green-and-black light blobs bounce around for a while was going to be more interesting than any of the stuff he had planned.  It'd be like filming a scene in a stoner's apartment and just zooming in on the lava lamp for a while.  "You guys get the idea, right?  I'm gonna go get some munchies, you just hang..."  Anyway, why remake "Rollerball"?  It's a stupid, uninteresting, generic idea.  "Oooh, a hyper-violent new sport that serves as a paper-thin metaphor for our own national obsession with brutality and cruel spectacle.  I'm being satirical!"
 
21. Date Movie (2006)

PARODIES OF MOVIES THAT ARE ALREADY COMEDIES DON'T MAKE SENSE, YOU DILLHOLES.  JUST CUT IT OUT!  SEE, THEY'RE COMEDIES, SO THEY'RE ALREADY ABOUT HOW THE SITUATIONS PRESENTED THEREIN ARE LIGHTLY AMUSING; REARRANGING THEM AND ADDING DIFFERENT, AND INFERIOR, JOKES, DOES NOT ADD ANY VALUE.  MERELY RECREATING SCENES FROM FILMS THAT WERE MEANT TO BE FUNNY AND SELF-AWARE THE FIRST TIME AROUND DOES NOT MAKE YOUR MOVIE A PARODY, BUT A MERE IMITATION, AND I THINK WE CAN ALL AGREE THAT IT'S UTTERLY POINTLESS TO IMITATE SOMETHING FROM THE RECENT PAST THAT EVERYONE STILL CLEARLY RECALLS, AND THEN ASK THEM TO PAY MONEY TO SEE IT!  IN CONCLUSION, PLEASE PLEASE PLEASE STOP.  YOU ARE HURTING MY BRAIN.

Tiger Not Out of the Woods Yet

Ha ha!  But seriously...

It seems that Mr. Woods has moved on to the next step in the Celebrity Scandal Method™ and decided to go to rehab.  But get this...it's for Vicodin, Ambien AND Sex Addiction!  I wouldn't have thought you could be addicted to both a sleeping pill AND lovemaking, as those two things seem sort of contradictory.  But a quick check of the ultimate authority on all medical issues - and of course I mean Wikipedia - confirms that Ambien produces side effects like "increased libido," "increased impulsivity," "altered thought patterns" and "impaired judgment and reasoning," which basically makes it sound like a rich, creamy Adultery Sauce.  I mean, how do you NOT cheat on your significant other when you're on a drug with those side effects?  It does everything but map the coordinates to the city's most exclusive escort services on to your iPhone.

Anyway, we at Mahalo are following the Tiger Woods Rehab story very closely, so stay tuned there for the latest.

Posted via email from Lon Harris

The 50 Worst Films of the Decade, 40-31

I think it's interesting to compare this list to the 50 Best Films of the Decade list I'll be publishing later on this week.  The most surprising revelation?  Four director's works appear on BOTH lists, and another director of a Worst Film manages to sneak in an Honorable Mention on the best list!  Can you guess who they might be?

The 50 Worst Films of the Decade, 40-31

40. Big Fish (2003)

"Big Fish" feels like the work of a hacky amateur trying to make a Tim Burton movie rather than a film by the man himself.  Self-conscious when it should be whimsical, creepy when it should be funny, maudlin when it should be uplifting, the film, in over 2 hours, never once manages to hit the right note, defying not only the established standards for Burton's filmography but also the very laws of statistical probability.  It doesn't even look good, with flimsy cardboard sets and cheesy facades standing in for the fantastical Southern landscape of Albert Finney's imagination.  But the biggest problem is that the movie celebrates the power of imagination and tall tales without actually relating one even remotely decent or interesting story of its own.  What we're left with is a romance about a man desperately in love with the sound of his own voice.

39. Daredevil (2003)

"Daredevil" is bad for a number of reasons, but what stands out to me years later is that it can't seem to decide what sort of comic book film it wants to be.  There's a serious, brooding, "adult" comic book film here, in which Daredevil is a scarred, tortured anti-hero who works out his trauma on bad guys.  But then there's also a ludicrous, candy-colored cartoon comic book film here, in which Colin Farrell parades around with a target etched into his skull and spouting cheesedick one liners like "I want a bloody costume!" and Ben Affleck and Jennifer Garner have adorable mock-fight sequences in playgrounds.  The two movies don't ever actually meet, and the result is a movie designed to appeal to absolutely no one, save possibly Kevin Smith.  But that's probably just his Ben Affleck man-crush talking.  (NOTE: "Daredevil" spawned a sequel of sorts, "Elektra," that's almost assuredly an even worse film, but I never saw it, thus saving it from inclusion herein.)

38. Rat Race (2001)

Quite possibly the decade's most shrill, obnoxious comedy, "Rat Race" has approximately 3 tools in its arsenal: celebrities mugging, people who are not quite celebrities mugging and fast-moving objects running into one another.  Now, I'm not saying that a good injury or physical gag CAN'T be funny, but when that's ALL that happens - people crash into things, things crash into things, people crash into people, my palm crashes into my forehead - it gets old fast.  The movie actually has an okay set-up...John Cleese plays a billionaire who has organized an elaborate game for his rich cohorts, betting on which of a group of clueless chuckleheads will end up with a $2 million prize he has hidden away.  But it just goes absolutely nowhere, unless you consider Rowan Atkinson doing an offensive Italian accent to be "somewhere."  Also, here are some names that should never appear in the credits of a film that claims to have an "all-star cast": Breckin Meyer, Seth Green, Jon Lovitz, Whoopi Goldberg, Amy Smart, Dean Cain and, of course, Paul Rodriguez.  (Actually, that last name should not appear in the credits of a film.  End of statement.)  "Rat Race" made me yearn for the wit and subtlety of Goldberg's '80s comedies.

37. United 93 (2006)

"United 93," Paul Greengrass' ode to terrorists making Americans shit our collective pants, is not so much a BAD film as an inappropriate, unnecessary and even monstrous one.  The fact that it's actually pretty well-made does not redeem it, but actually serves to confirm that the people involved should have known better.  The movie seeks to do nothing less than recreate 9/11 - in particular, the flight that never made it to its final destination and instead crashed in a Pennsylvania field on that fateful day.  Not for dramatic effect, not to make any kind of academic or sociological "point," not even, presumably, to make money - cause who wants to go relive 9/11 on a Saturday night at the movies? - but just to do it, to see if it can be done.  And, yeah, it can.  Watching the film is a sometimes painful, always uncomfortable and intensely unpleasant experience...but that doesn't make it worthwhile.  Quite the opposite, in fact.  The movie made me dislike Greengrass, as a person, pretty intensely.  Why was he even putting us all through this again?  Just to show off?  In the hopes that, by making the year's most SERIOUS and sober picture, someone would give him an award?  What a piece of shit.

36. Shallow Hal (2001)


"Shallow Hal" marks the moment - the EXACT moment - when the Farrelly Brothers' schtick wore out its welcome.  The rest of the decade was a slow, painful slide into obsolescence for them.  All of their movies pair gross-out laughs with sentimentality and an essentially sweet nature, but "Shallow Hal" tips the scales (har!) and overwhelms any and all actual humor with a relentlessly judgmental, scolding tone.  The film, in which the superficial Jack Black is hypnotized by Tony Robbins (in a pointless cameo) and thereafter falls in love with a morbidly obese Gwyneth Paltrow (who appears beautiful to him), tries so desperately to have it both ways that it's practically bipolar.  You can either convince people that fat jokes aren't funny, and that we all have a responsibility to treat each and every human being with decency, love, compassion and respect, or you can make 90 minutes worth of fat jokes.  Just get off the bitchtrain and pick one, guys.  Doing both is like Hitler ending one of his rousing addresses to the German volk by sharing his old family recipe for gefilte fish.  There just isn't much of a middle ground there, and even if a skilled comic writer could FIND some way to balance these two impulses, the Farrelly Brothers just aren't talented enough to pull it off.  So you get lots and lots of (mostly awful) fat jokes followed by scenes in which we're told that it's wrong, WRONG, to pre-judge people because they're fat. Also, Jason Alexander with a tail, which is less funny than its sounds.

35. Ultraviolet (2006)

$30,000,000 was apparently spent on "Ultraviolet," though I can't imagine HOW.  Perhaps they paid people off to pretend it wasn't such an enormous turd?  It contains arguably the WORST-looking CGI in the history of that particular technology; whole sequences appear to not have even been finished, like the animators caught a few seconds put together of what they were working on and left early to go get drunk.  There aren't really even any big stars in it, besides Milla Jovovich and that kid Cameron Bright, who was in pretty much every movie this decade that didn't already feature Dakota Fanning.  Where did the budget go?  The costumes, which look patched together from discarded couches director Kurt Wimmer found abandoned on the street near the studio?  The prop guns, which look like cheap plastic toys with swords glued to the bottom, perhaps because they are CHEAP PLASTIC TOYS WITH SWORDS GLUED TO THE BOTTOM!  I think it's entirely possible "Ultraviolet," rather than a failed dystopian science-fiction film, was actually just a front for Kurt Wimmer's First Annual $30 Million Coke and Caviar Party, and the actual decoy "movie" that resulted only cost $11.50 and a handy in the parking lot of the Astroburger next to the Paramount lot.  At least, I'd like to think so.

34. What Planet Are You From? (2000)

What happens when an alien from an advanced race with incredible technology but no understanding of real emotion has to come to Earth and try to mate with a human female?  Well, the results are a mix between "The 40 Year Old Virgin" and the creepiest, most ick-inducing thing you've ever seen.  Comedian Garry Shandling plays said alien, and one of the running gags of the movie is that his artificial penis (which he plans to use to impregnate a human female and thus ensure the future survival of his kind) vibrates noisily when he gets aroused.  Which means that you spend a lot of the film thinking about and having your attention called to Garry Shandling's penis.  Which, right there, is kind of a deal-breaker.

33. Righteous Kill (2008)

De Niro and Pacino team up...to tell a story that's somehow both incomprehensible and predictable.  I've been thinking about that for a while now, and I still can't quite wrap my head around it.  The whole mystery - in which a pair of cops search for a vigilante killer who leaves poems at the site of his murders - builds up to a twist that's completely straight-forward and obvious, but gets there via insanely convoluted, nonsensical means. It's almost like director Jon Avnet (the visionary genius behind "Red Corner" and "88 Minutes"!) wanted you to FORGET that you figured out the twist in the first 20 minutes.  Suffice it to say, when the protagonist in a suspense thriller looks into the camera in the first moment of a movie and tells you he's a serial murderer, it's probably a fake out, misdirection to keep you from paying attention to the REAL murderer.  And when that same suspense thriller has only 2 real characters, process of elimination alone would seem to dictate that...well, perhaps I've said too much already.

32. Evolution (2001)


Ha ha, butt...

In the ill-fated "Evolution," David Duchovney and Orlando Jones hunt an alien creature that doesn't understand how evolution works.  No, I mean, um, it "evolves" quickly, cause that's a thing...right?  Setting the cause of proper science education back further than Ben Stein and Kirk Cameron ever could, Ivan Reitman's sci-fi comedy (and I use all the words in that phrase loosely save "Ivan Reitman's") was originally conceived as a real horror film.  Then, realizing it was not at all scary, Reitman reconceived it as a comedy...ish thing, sorta.  Anyway, it's probably very much like its original incarnation, only Julianne Moore falls down a lot.  Who knows what it could have become next if Reitman hadn't presumably run out of time and been forced to release whatever he had thrown together, as-is.  A swashbuckling Technicolor adventure film about an alien menace that transforms into a variety of different forms before settling on "vaguely nondescript blob of computer-animated goo"?  An Errol Morris documentary in which Julianne Moore speaks directly into the camera about spending an entire film shoot pretending to trip and fall?  Pretty much anything would be less painful to sit through than this debacle.  It clearly just needed more time to...wait for it...here it comes...any second now...evolve.  Yeah, that's right, I went there.

31. The Cat in the Hat (2003)

This movie's a loud, joyless, chaotic waste
Nothing like the Seuss book (on which it is based)

Look out for Mike Myers, with make-up that's scary
He's more frightening here than "The Grinch's" Jim Carrey

And despite being ignored by most of the nation
This still kicked off a wave of bad Seuss adaptations!

The 50 Worst Films of the Decade, 50-41

In some ways, writing a list of the "worst films" of the year or the decade is an act of pure cynicism, a bilious exercise in slamming someone else's work that is completely trivial and unnecessary.  If you write a review of a bad film the week it opens, you are, in some small way, doing a kind of public service.  "Hey, moviegoing audience," your review seems to say, "avoid this clunker at all costs in favor of something more worthwhile. You're welcome!"  But written months, or in this case, YEARS after the films have already been thrashed by critics and audiences (in most cases), serves no immediate purpose other than celebrating the taste and wit of the author and flattering the sensibilities of the reader, who is encouraged to sneer and laugh caustically at targeted artworks.  It's the cinematic equivalent of public masturbation...self-indulgence that benefits no one, and really only has the potential to offend.

Having said that...it sure is a lot of fun!  And these movies are terrible!  They have it coming.

THE WORST MOVIES OF THE DECADE, 50-41

50. The Hunted (2003)

William Friedkin's overwrought pseudo-action film is essentially a remake of "First Blood," only without all that pesky action and social commentary.  The film was released 6 years ago and was immediately forgettable. So much so, in fact, the only thing I really recall about it, aside from disliking it intensely, is Benicio del Toro's completely indecipherable accent, despite the fact that he's supposed to be playing an American soldier.  It's like his character from "Usual Suspects" joined the military and wigged out...He must have just gotten bored and decided to try something a little different.  "Give me the keys, you cocksucker."

49. The Hours (2002)

Three generations of women suffer from inexplicable ennui, stare longingly out of windows and generally bore the living shit out of me in this mercilessly long, turgid, suffocating Oscar bait.  The theme of Stephen Daldry's self-congratulatory snoozefest seems to be that women are a mysterious puzzle-box of emotion that no one can ever even begin to decode.  So accordingly, he sets up drab, maudlin and entirely generic "depression" scenarios for his main characters and then does very little with them, not so much trying to investigate or explore the sadness of author Virginia Woolf or her '50s housewife counterpart as fetishize it.  ("Oooooh, they're so sad and you don't even know why!  Just give them some Critics Circle Awards already!")  Ed Harris earns groans, loud, heaving, guttural groans, as a self-pitying poet suffering from AIDS.  By the end, the audience is ready to throw him out a window before he takes care of the job himself.

48. The Day After Tomorrow (2004)

Where to even begin with the movie's inexplicable narrative?  Oh, I know, how about its main characters outrunning freezing temperatures?  Once you've actually written a scene in which a guy outruns the rate at which things turn cold, you've pretty much thrown up your hands in defeat.  (NOTE: Another horrible '00s film, "Die Another Day," asks us to accept a character driving faster than the sun, but this is a Bond movie, so I think a bit more baffling, ludicrous implausibility is acceptable.)

47. Scoop (2006)

"Scoop," the story of a journalist who gets a story idea from a dead guy and then follows it up with the aid of a whiny senior citizen, is clearly just lazy, the work of a guy who could make a movie in his sleep and essentially tries to do exactly that.  You keep expecting all the film's various threads to come together in a way that's dazzling and surprising and witty, like the last scene in a great "Curb Your Enthusiasm," but instead everything just kind of stops, limply, like the last scene in a mediocre "2 and a Half Men."  Writer/director Woody Allen himself appears in the film as a nebbishy old crank who for some reason starts hanging out with Scarlett Johansson (okay, so this part is based on a true story) and has never been less likable on screen.  Seriously.  Ever.  And I've seen "Scenes from a Mall"!

46. Southland Tales (2006)

You can tell things aren't going to go well within the first few minutes of "Southland Tales," as Justin Timberlake narrates an exceedingly complex, yet simultaneously silly, series of future events. All that exposition (really, it's about 20 minutes all put together) doesn't get us anywhere, as the movie then proceeds to ping around between different characters incoherently for the remainder of its running time.  Most of these individuals - many of them the results of Timberlake-esque stunt casting (hey, it's The Rock! Kevin Smith in old age make-up! Stiffler!) - play more like sketch comedy characters than significant players in a large-scale dystopian science-fiction odyssey.  After a while, it's impossible to even care what's happening or why you can't follow of it.  I sort of just gave myself over to accepting that the movie was abysmal and wouldn't make any sense after an hour or so, and entertained myself by remembering other, better movies about the looming apocalypse.

45. Spider-Man 3 (2007)

It's hard not to feel like the third "Spider-Man" adventure is just an obligatory addendum tacked on to the only movie in the series it felt like Raimi WANTED to make.  The pieces just don't ever come together...An alien symbiote whose existence is never really explored, and whose properties are never quite spelled out, a sort of rivalry between Peter Parker and another cameraman who seems bent on destroying him for no real reason, an on-again off-again romance that you keep sort of rooting will go off-again, permanently...It's all kind of shoehorned in there, and as a result, the film is a rambling mess.  How much of a mess, you may ask?  Tobey Maguire's Parker is transformed from a gangly nerd into an emo-hipster hybrid who actually performs jazzy musical numbers, and this is meant to be taken SERIOUSLY, as the central dramatic conflict of the film.  Drag me to Hell, indeed.

44. The Dukes of Hazzard (2005)

It takes a lot to make a film that can be said to "dumb down" perhaps the most inane, stupid, redneck-yshow of all time.  Just think about that...The stars of the "Dukes of Hazzard" TV program were OFFENDED by how stupid the movie adaptation was, and these are people who would have given a limb to get cut first from "I'm a Celebrity, Get Me Out of Here" at the time of the film's release.  This completely jokeless comedy actually does serve one useful purpose...it's an amazing time capsule of the year 2005. Jessica Simpson and Johnny Knoxville are popular!  The nation is obsessed with "blue collar comedy"!  Everything completely blows!  It's like walking straight into the past without a flux capacitor!

43. The Da Vinci Code (2006)

OK, everyone, what's the secret to making a white-knuckle, edge-of-your-seat thriller?  If you said "a one-hour faux-history lecture from Ian McKellan," congratulations, you're a complete dipshit who may or may not be director Ron Howard!  2 quick things that bug the shit out of me about this tepid, bloodless adaptation of a book that wasn't any good in the first place: (1) Tom Hanks' character is referred to by a fake word, "symbologist," despite the fact that a real word for a person who studies symbols, "semiotician," already exists!  There's no quicker, easier way for a movie to tell you that it thinks you're fucking dumb than for it to make up easier words to substitute for difficult ones.  But maybe that's just me...I am, after all, an experienced vocabulist. (2) Hanks' character is presented with what are meant to be challenging, centuries-old math puzzles and they turn out to be based on straight-forward arithmatic lessons ripped straight from the archives of "Square One Television."  I mean, seriously...the Fibonacci sequence?  You figured that one out all by yourself, T.H.? Without the teacher's manual?

42. Vacancy (2007)

This is just another mindless "couple gets stranded during a road trip gone bad only to be set upon by psycho(s)" film, and one that wouldn't really stand out from all the other similarly-plotted shitkickers that have been clogging up New Straight-to-DVD Release shelves and Best Buy bargain bins for the better part of this decade, were it not for the cast.  "Vacancy" was seemingly cast entirely based on giving comedians of the future some material.  I don't even think it should have gone straight-to-DVD.  It should have gone straight to Mystery Science Theater.  Luke Wilson and Kate Beckinsale as the unhappy couple?  Well, um, sure, okay.  Frank Whaley as the homicidal lunatic who has trapped them in his motel of horrors?  Wait, wait, what?  Frank Whaley?  This guy is about as menacing as...well, as Frank Whaley.  I'm not sure I can un-menace him any further via analogy.

41. The Fountain (2006)

Darren Aronofsky spent about a decade trying to get this movie made, and all I can say is, "Wow, I didn't realize a bad mushroom trip could last that long."  There are no words to describe what a convoluted, nonsensical mess this movie is.  So I won't even try.  Suffice it to say that the movie ends with Hugh Jackman assuming the Lotus position in the middle of outer space next to a glowing tree.  And that's NOT the most laughable thing that happens.  That's not even getting into the "conquistador" sequences that look like they were shot in some guy's North Hollywood studio apartment.  Let's just not even go there.

See and download the full gallery on posterous

Posted via email from Lon Harris

Tiger Woods and the terrible horrible no good very bad day

This voicemail from Tiger Woods to his ALLEGED mistress Jamiee Grubbs is just sad.  And not even said in the hilarious way, like "reality show sad."  Just sad.  To see someone with Tiger's fame and popularity have to sink to paranoid messages on women's phones begging them to delete their own identifying information, lest his wife discover their tryst, sort of makes the compelling case for not getting married, being famous or having a cell phone.

Also, at this point, HOW pissed is he at getting into that little fender bender.  You know that feeling right after you've made a minor but costly mistake while driving, where you start obsessing about being able to take back the last 3 minutes and kicking yourself for not paying more attention to the road?  Multiply that by 890 billion and that's how Tiger Woods feels this morning.

More details, and the audio clip of the voicemail message, on our Mahalo page:

http://www.mahalo.com/tiger-woods-voicemail

Posted via email from Lon Harris

Is Scottsdale, Arizona and Newport Beach, CA in da houze?

via youtube.com

Finally, elderly white folks with questionable ideas about politics and constitutional law have an MC to call their own.

Seriously, though, this video from Hi Caliber, the conservative Tea Party rapper, really must be seen to be believed. It's like Chuck D and Glenn Beck had a child, and it didn't just realize it was a freak of nature and take its own life immediately upon exiting the womb/laboratory test tube.

Also, I love that Hi Calbier reflexively harken back to the '80s and Ronald Reagan as the standard-bearer of good conservative leadership. Surely he's supported at least one, but more than likely 2, conservative presidents since then. I looked around for his dope mid-aughts rhymes against President Bush's overreach and fiscally irresponsible policies, but I guess YouTube must have deleted those. That is so ill.

Posted via web from Lon Harris

COD:MW2 Walkthrough

Yeah, it's a terrible acronym.  Memo to Activision...Cool shorthand ways to refer to your game are key to its success.  Think GTAIV.  That's perfect...everyone knows what you mean, and it's distinctive.  What about "Call of Duty: Eternal."  That would have an awesome acronym.

Anyway, we've been playing through the game here at Mahalo and it's super-violent, almost troubling, and very realistic.  It's a lot of fun, if you're into all that blood-and-guts stuff.  So, basically, if you're a gamer.

Games like these still sorto f make me nostalgic for "Counter-Strike."  I'm not sure I've played another FPS multiplayer game to this day that I've enjoyed that much, even though I used to get annihilated by 12-year-olds regularly.

Anyway, if you're playing through the game this weekend, check out Mahalo's Call of Duty: Modern Warfare 2 walkthrough.  We'll be working on it for a while yet, but it's already among the most thorough and complete walkthroughs of the game out there.

Posted via email from Lon Harris

Grizzly Bear + Allison Schulnik's "Ready, Able" video will blow your mind out your face

via youtube.com

Here's the trippy, imaginative, just plain brilliant video for my favorite song off the new Grizzly Bear album, "Ready, Able." I love stop motion!

Best YouTube comment so far:

"i did not enjoy the art, it was done by a woman the emotion behind it must have been intense."

Well played.

Posted via web from Lon Harris

There is no harder thing than having Glenn Beck outlive your child...

via theonion.com

Are they mocking Glenn Beck? Or the intense hatred of Glenn Beck that has become de rigueur for all sane Americans? Who cares! It's funny!

Posted via web from Lon Harris

Clearly, this is the greatest couples costume of all time...

via paulscheer.com

OF ALL TIME!

Posted via web from Lon Harris

14 Unfortunate Things to See in Your FlashForward

14. You turn on the radio and discover that, contrary to Jigga's prognosis, Auto-Tune was just momentarily incapacitated, but didn't die.

13. Your personal productivity takes a hit after new president Arnold Schwarzenegger decrees that all letters and e-mails must now spell out dirty words if you read the first letter of each line.

12. You're enjoying a delicious protein bar until you check the label and see that it's Soylent Green.

11. There's some weird guy crashing on your couch.  He keeps calling you "Sugar Bear."

10. Latest "Avatar" trailer...Still kind of disappointing...

9. Future You still hasn't quite come to terms with the untimely loss of Billy Mays.

8. You finally have health insurance, which you're using to buy Super-AIDS medicine.

7. You're in your favorite neighborhood bar, it's full of hipsters, and you're kind of starting to not mind so much.

6. Your hard drive is completely filled with Russian fetish porn. And someone has reorganized it and messed up all the file names.

5. You're on a tour promoting your new book, "How I Got Brutally Gang-Raped Moments After Having a Vision of the Future."

4. You assume you've died and gone to Hell as punishment for your sins until you catch a glimpse of a newspaper and realize you just moved to Phoenix.

3. You're in a meeting with the local terrorist cell, which you've joined, and all their plans are stupid.

2. You're at a Tijuana donkey show. You're the donkey.

1. You're watching Season 2 of FlashForward.

Posted via email from Lon Harris

All by myself...I'm co-hosting...all by myself...

via youtube.com

Don't cry for me, The Internet-gentina. I can make it on my own.

Posted via web from Lon Harris

Gooble gobble gooble gobble! One of us! One of us! (via @rjbudke)

via youtube.com

Most excellent mash-up of a random collection of classic TV shows and films. Ricardo Autobahn came, he saw, he kicked its ass!

Posted via web from Lon Harris

Alicia Keys, Balloon Boy, Mario proposals, exploding anvils, @andreaball and me on TWIYT 68!

via mahalodaily.blip.tv

Our YouTube account was unceremoniously pulled this week, so we haven't been able to post the new episode there yet. (It should be back tonight!) But you can see the new episode on Blip, complete with meta-commentary about how it's not on YouTube! Ha ha, ironic self-awareness!

Posted via web from Lon Harris

A post including the words "conservative" and "horror" that ISN'T about Glenn Beck

Some mouthbreather named John Hawkins has written a thoroughly ridiculous list of the "10 Horror Movies For Conservatives To Watch This Halloween."  What makes a horror movie CONSERVATIVE, you might ask?  I had no idea, which is what made me intrigued enough to click the link in the first place...Perhaps he's recommending those schlocky movies where a woman's fetus dies or is aborted and then it comes to life and starts exacting revenge on the townsfolk?  That, I guess, could be construed as aligned with the modern Republican Party's platform of hating abortions and, you know, women.  Or maybe he means those horror movies where the only way to stop the zombiepocalypse is to kick out all the Mexicans?  Wait, they haven't made that movie?  HOLY SHIT, what are you guys waiting for?  That's a horror film concept I would think a lot of American conservatives could get behind.  Especially if it was Communist zombies who wanted to gay marry one another.

But no...this list is just 10 horror movies, some of them pretty great, that have...wait for it...ABSOLUTELY NO CONNECTION whatsoever to contemporary American political conservatism.  None.  Zero.  You might as well call this list "10 Horror Movies for Proctologists to Watch This Halloween."  It's entirely likely that butt doctors would enjoy most, if not all, of these films, but that doesn't really mean they are anal-illness-centric in any significant way.

Let's go through selections from the list...

CLOVERFIELD:

Hawkins implies that this is conservative because it features the US military doing stuff:

"Meanwhile, the military was in the thick of the action, bravely fighting against the Cloverfield monster and handling an impossible situation the best way they could."

True, the movie makes no specific critiques of the military's handling of the whole "monster devouring New York" thing.  (Hawkins tends to view any movie that depicts the military or the religious as human beings as "conservative," which strikes me as a touch misleading.) 

But at the same time, the entire conceit of the film revolves around a secretive government project (nickname: Cloverfield) that is apparently investigating the incident in a shadowy, questionable manner after the fact.  So it's not exactly jingoist to the core either.  Here's, as best I can deduce, Hawkins' calculation:

- Government, as a concept: Liberal
- Individual employees of the government, provided they wear uniforms and hurt people as part of their job: Conservative

You MAY actually be able to make the case that "Cloverfield" is in some ways about the 9/11 terrorist attacks and the feeling of helplessness New Yorkers felt in its wake, which at least would be a somewhat POLITICAL spin on the movie.  But then you wouldn't be John Hawkins.

THE DEAD ZONE

I'm not sure Hawkins is thinking of the right movie.  David Cronenberg's film "The Dead Zone," which he seems to be discussing, is about a psychic who comes to realize that the election of a conservative extremist to the White House will bring about worldwide nuclear wear.  So he assassinates him.  The end. 

"Fahrenheit 911" is literally more conservative than "The Dead Zone."  Michael Moore's documentary didn't openly advocate the murder of a conservative president.  In fact, this choice is SO INSANE for a list of movies for conservatives, so completely baffling when considering the film's content, I actually had to look it up online, to make sure I wasn't misremembering the fictional president's agenda and political association:

From Wikipedia:

"Stillson is elected congressman on election night. He proves so popular during his first term that he is re-elected in a landslide. Shortly following his re-election, he creates a conservative political action committee called the America Now Party. Smith, with the terrible knowledge of Stillson's future deeds, contemplates attacking or assassinating the congressman."

Smith, the one who is contemplating attacking or assassinating the conservative congressman? He's the film's HERO.

Bear in mind, dear reader, is that this column represents the BEST that author John Hawkins could do.

THE EXORCIST

Wait, is a belief in demonic possession now an official part of the Republican platform, and no one thought to tell me?  Does this explain Michelle Bachmann?

THE FOG

Guh?  In "The Fog," a town in Northern California is set upon by the bloodthirsty ghosts of sailors, who seek revenge for a 100-year-old shipwreck caused by the town's founders.  Hawkins offers no argument as to why this film is conservative, and really has very little to say about it except that it has "brilliant timing" (perhaps he means "pacing"?) and that the remake sucked.  I suppose one could argue that "brilliant timing" is a conservative trait, were it not for the entire 2008 McCain for President campaign.  Now, if you'll excuse me, I'm suspending this blog due to the poor US economy...

...Ha ha!  Satire!

THE MIST

Wow, both "The Fog" and "The Mist" made the list!  Perhaps this was actually a list of "10 Horror Movies for Meteorologists to Watch This Halloween" and John's just pasted a new title and byline on top.

I wouldn't have even thought this possible, but John has chosen a SECOND FILM in which the VILLAIN is conservative to put on his list of conservative films.  Mrs. Carmody (ably if a bit overzealously played in the film by Marcia Gay Hardin) believes that mankind's sin has angered God, that he has grown angry and sent an apocalyptic plague to Earth as punishment.  SOUND FAMILIAR?

RE-ANIMATOR

Because if there's one thing that conservatives love to celebrate, it's elaborate works of dystopian mysticism conceived by and starring atheists!  According to Hawkins:

"Somewhere in there is also a message about the perils of playing God with human life."

Yeah, I guess that's in there somewhere...Wait, I forget, is that before or after the part where the zombie rapes that co-ed?

THE SILENCE OF THE LAMBS

Yeah, right now you're probably thinking, "This film about serial killers and the profilers who hunt them has nothing to do with conservatism, and actually has a strongly pro-feminist message that probably would turn off a lot of older, more traditional Republicans who continue to deny that women face unfair advantages in the workplace."  But that's probably because you didn't know that it's based on the life of William Ayers!  Yeah, what do you think of Hawkins now?  Pretty insightful, huh?

Oh, wait, Buffalo Bill isn't supposed to be Bill Ayers?  He's based on an amalgamation of other real serial killers like Ted Bundy and Ed Gein?...Oh.  Then, yeah, this dickbag is just a dickbag.  Never mind.

Posted via email from Lon Harris

Goats Inspired by Goats is inspired

via mahalo.com

There's something about finding a meme WAY TOO LATE and then latching on to it that's just charming. It's like how Chinese food is sometimes more delicious when it's spent a few days getting cool in the fridge than it was fresh. The best ridiculous YouTube in-jokes only get better with age.

Posted via web from Lon Harris

Brutal Legend Walkthrough

We're hard at work here at Mahalo on the Brutal Legend Walkthrough page.  The game seems pretty fun - Jack Black voices a roadie who winds up in a hellscape known as "Heavy Metal."  Apparently the game combines action, racing and Real-Time Strategy but all the clips I've seen look essentially like an action game, albeit one with a relatively open world to explore.

It's rare to find a really enjoyable, playable game with a big sense of humor.  (That first "Sam and Max" game was kind of fun, I suppose, and there's always the "Monkey Island" series.)  Usually, in-game "comedy" is done "Duke Nukem"-style.  Little repeated one-liners that play whenever you do a certain move or something.  Weak.

Anyway, Mitchell is working on the walkthrough right now, as he plays through the game, and we've got lots of videos on there as well. 

It's a great intro to the game if you're considering picking it up.

Posted via email from Lon Harris

Louisiana Justice of the Peace: "I'm not racist...As evidence, consider that I let black people use my bathroom."

A Louisiana justice of the peace said he refused to issue a marriage license to an interracial couple out of concern for any children the couple might have. Keith Bardwell, justice of the peace in Tangipahoa Parish, says it is his experience that most interracial marriages do not last long.

"I'm not a racist. I just don't believe in mixing the races that way," Bardwell told the Associated Press on Thursday. "I have piles and piles of black friends. They come to my home, I marry them, they use my bathroom. I treat them just like everyone else."

via news.yahoo.com

American South, you've done it again!

Posted via web from Lon Harris

Quite the Conundrum #mahalo

Conundrum Wines make a very tasty product - I bought one of their 2007 white wines from Los Feliz's epic Cap n' Cork Market - and they have paired it with an unusual marketing strategy.  Rather than focus their advertising on the wine itself, they're challenging potential customers to think about "conundrums" they face in their own lives.  The best way, the ads seem to imply, to answer some of life's most confusing situations...might be while enjoying a glass of delicious Conundrum wine?

At least that's my take on it.  No matter their underlying strategy, they have entrusted Mahalo with creating this "spinoff" Q&A site for them, called ConundrumLand.

http://www.whatsyourconundrum.com/

The thing that's interesting about the ConundrumLand/Mahalo Answers team-up, to me, is that the two sites can really work in concert, rather than as competitors.  ConundrumLand tends to focus on in-depth discussions, especially about topics like etiquette, relationships, work...personal sorts of conversations, like you'd have with your close friends, that tend to reflect the user's life experiences and backgrounds.  This is in pretty direct opposition to Mahalo Answers, which occasionally encourages users to share personal information but more often focuses on facts, data and actual research-able information.

If this little experiment works well, we'll have lots more of these kinds of sites focused on a variety of different brands and sponsors.  So if you're at all curious about knowledge exchange communities, or if you just have a few conundrums of your own you'd like answers for, I'd encourage you to check it out!

Posted via email from Lon Harris

For the 8 of you who didn't already realize Glenn Beck is a preening, ridiculous phony

via crooksandliars.com

Here's a video of Beck liberally applying Vicks Vaporub to his face in order to present the illusion of crying. Cause he's SO WORRIED about his country...but not enough to conjure up any real emotion.

If there's one thing on the planet more pathetic than a TV personality crying on camera for no good reason...it's that TV personality PRETENDING to cry on camera for no good reason.

This is the first time I've actually come close to feeling badly for Beck. He'll have to live with the existence of this footage for the rest of his life. No amount of money could possibly be worth that.

Posted via web from Lon Harris

YOUTUBE GOLD: Serious-minded individual calls for Obama's impeachment over flavored dip ban

via youtube.com

How has this been on YouTube for a week without my knowledge? The guy's argument boils down to a few points:

(1) Obama wants to ban flavored dips
(2) Flavored dips are good
(3) Therefore, Obama is gay

But that's not all. He proceeds to

- compare Obama to a monkey, before postulating what might happen if a person gave a monkey a flavored dip.
- defend his right to say racial slurs, on the basis that he's not a Nazi
- argue in favor of legal prostitution
- state that Obama is not an American, but IS a Jew (!)
- salute the Confederate flag because, and I quote, "I'm a true fucking American."

Okay, sure, not all his arguments are all that compelling, but delivering them while pausing frequently to spit in a small plastic container? That is one dynamite rhetorical technique. I'm pretty sure William Jennings Bryant did the same during his most celebrated oratories.

Posted via web from Lon Harris