Blu-ray Review: Knights of Badassdom (2013)

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In this Big Bang Theory era of blockbuster Marvel movies, comic book petitions and Cosplay, the A.V. Club nerds from high school who rolled Dungeons and Dragons dice in the library while the popular kids went to pep rallies are having the last laugh since there’s never been a greater time in pop culture history to be an avowed geek.

And Wrong Turn 2 director Joe Lynch’s Knights of Badassdom was made precisely with the built in Comic-Con ready fanbase in mind in this in-joke, stunt-casting filled salute to the world of LARP, which stands for Live Action Role Play.

Badassdom is bursting at the seams with an amazing cast of genre favorites led by Game of Thrones star Peter Dinklage and True Blood’s Ryan Kwanten. Also featuring former-Firefly/current Arrow actress Summer Glau as well as Community’s Danny Purdi, Revenge’s Margarita Levieva, Gen X fave Steve Zahn and It’s Always Sunny in Philadelphia turned House of Cards scene-stealer Jimmi Simpson, Knights is an embarrassment of riches in terms of great cameos.

Unfortunately, aside from its likable leads, there isn’t all that much holding this movie together. However, you must credit the film’s inventive premise about die-hard Dark Ages fans so devoted to their Dungeons and Dragons-like role-playing lifestyle that they live in a mock-castle as it's something altogether new for the now over-crowded nerd genre.

The creativity continues from there as shortly into the picture they discover that their weekend adventures in make believe sorcery have taken a turn for the magical when an ancient text purchased on eBay accidently conjures up a real live blood-thirsty succubus from the depths of hell who’s taken the form of Kwanten’s ex-girlfriend.

Unfortunately, it’s around this time that the essential one-joke premise begins to grow stale. Perhaps sensing this, the film switches up genres altogether in an uneasy segue from self-conscious nerd humor to full-on zombie horror when the succubus begins picking off the LARPers one after another.

Obviously when body parts go flying, it’s only a matter of time before the players must put their years of practice to good use when they come face to face with an actual dragon unwilling to be vanquished by the role of the dice or a tap with a foam sword.

Although the premise is bright, the imagery is not as Knights is hindered by the marriage of its gory over-the-top effects with some rather unflatteringly dark lost-in-the-woods night cinematography not helped by a dull Blu-ray transfer.

Furthermore, Knights’s screenwriters do the film a disservice by losing the best thing it had going for it in terms of its offbeat humor to instead turn Knights into a cheap fantasy horror hybrid that continually falters by moving awkwardly back and forth in tone.

As such, Knights of Badassdom becomes one of those movies that’s infinitely more fun to describe to others than it is to watch which easily explains how it earned the greenlight and such an acclaimed cast of actors undoubtedly attracted to the unusual pitch which is certain to be far different from the fare they’re usually offered.

And honestly the ingenuity of Knights makes you wonder if the actors signed on for the novelty of the idea alone without bothering to read the script, since you have a hard time believing they would've joined up if they'd read it from start to finish.

Nonetheless, it does having one major saving grace in the form of actor Jimmi Simpson. Clearly having a ball portraying the ego driven game master, Simpson once again shows viewers and casting directors why he should be cast far more often by cracking us up long after we've started to lost interest in the film overall.

Turning in another undeniably hilarious performance on par with his ongoing supporting guest role on It’s Always Sunny in Philadelphia and his pace-quickening season two performance on Netflix’s House of Cards, Simpson nails the tone the film should’ve adhered to all along by playing the comedy straight and generating laughter naturally.

At its best when it does just that and reminds us of the ‘80s classic of fantastical comedy The ‘Burbs from Joe Dante (whose work should’ve been studied before a single frame was shot), while so much of the film feels as uninspired as a dull night of Dungeons and Dragons, Simpson is the real thing as Badassdom’s film-saving nerdy badass.
   

Text ©2014, Film Intuition, LLC; All Rights Reserved. http://www.filmintuition.com Unauthorized Reproduction or Publication Elsewhere is Strictly Prohibited and in violation of the Digital Millennium Copyright Act.  FTC Disclosure: Per standard professional practice, I may have received a review copy of this title in order to evaluate it for my readers, which had no impact whatsoever on whether or not it received a favorable or unfavorable critique.

Blu-ray Review: A Case of You (2013)

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Like CliffsNotes for People, Facebook profiles provide us with a succinct getting to know you guide to any individual, where a person’s likes, snapshots and status updates have become the cyber version of a first date. Namely, we find out things we used to learn by having a good old-fashioned conversation with a friend request and a click of the mouse.

Using this idea as a jumping off point to explore what would happen if a shy guy took the Facebook profile of the object of his crush-worthy affection far too literally to become what he believes is her ideal mate, affable actor Justin Long makes his screenwriting debut, starring in the work he penned alongside his brother Christian and co-star Keir O’Donnell.

A frothy, sweet romantic dramedy confection with a dry sense of humor that translates a bit awkwardly onscreen, Long’s Case is as in need of mischievous laugh-out-loud fun as it is a stronger sense of just who our lead character actually is before he undertakes his romantic quest to become the real-life version of the blonde, bubbly barista Birdie’s online dreams.

Directed by actress turned Life Happens helmer Kat Coiro, A Case of You’s weaknesses are easily overshadowed by the appealing star-studded supporting cast’s obvious commitment to and infectious energy for the scene-stealing characters they play from Vince Vaughn’s macho publisher and stoned out Spin Doctor guitar instructor Sam Rockwell to Wood’s oddball coworker Peter Dinklage and outgoing ex Brendan Fraser.

The film centers on Long’s insecure writer Sam, whose carting around massive invisible baggage thanks to the trust and commitment issues that stem from his heartbreaking estranged relationship with the mother who’d walked away from him along with his bookish father in favor of an exciting new man.

Deciding he isn’t ready to put himself out there without at least some kind of established (albeit manufactured) connection, Sam uses Birdie’s profile to become someone completely different from himself to attract the effervescent beauty (played by Evan Rachel Wood).

From taking dance, cooking and guitar lessons to purchasing her favorite books and music (including, I presume the Joni Mitchell titular song that is never played or mentioned in the film), Sam fails to realize what the audience, his friends and Birdie already understands, which is that the most interesting person he can possibly be is himself. Likewise, anytime he reveals anything genuine about himself in the film, he’s easily one hundred times more fascinating than the polished, rehearsed guy he’s trying to be.

Finding himself as attracted to Birdie as he is inspired by the caricature artist who seems to be a (thankfully) more relatable version of the stereotypical rom-com free-spirited hippie waif of the over-exaggerated love child of Goldie Hawn meets Drew Barrymore variety, Sam’s love life soon also serves as fodder for his new manuscript.

Branching away from the horrific teen vampire movie novelizations he’d written in the past to create something far more authentic, he chronicles his relationship with Birdie including all of the hopes, fears, secrets and lies he’s too afraid to reveal anywhere but in print.

Although Long’s muse-like plotline sets Case up for a formulaic finish, one of the film’s most admirable qualities is in the way it deviates from traditional romantic trappings.

Intelligently written and respectful of the audience's intellect – instead of just plugging the characters and subplots into the same A+B=C genre paradigms we’ve seen again and again, A Case of You lets its hero’s motivation be its guide, telling a tale of people versus a formulaic plot.

Although we’re enchanted by Wood from her earliest scenes, by not offering enough information about Sam before he begins his plan of romantic action, the film makes it that much harder to root for him or understand his sudden drastic change in attitude when he first picks a fight with Birdie without any real prompting and then inevitably, later sees the error of his ways.

A simple fix might have been swapping out the scene order to move an opening sequence that finds him crossing paths with an ex to later on in the film (ideally before the fight) in order to maximize the emotional impact of it so that we fully grasp his level of insecurity. Unfortunately the way it all plays out onscreen keeps us at an arm’s length from Sam from start to finish.

Thankfully, Long is so charming that he helps break down some of Sam's and by extension the film's walls. Case finds him playing slightly against type so that he delves much deeper to embody a far more internalized version of the same "nerdy" persona that first introduced him to American television viewers (including yours truly) via NBC's Ed over a decade ago.

While his charisma and the palpable chemistry between the two leads helps us get over our some of our hurdles with the main character, the ingenious way that Case introduces and then abandons rom-com red herrings from a likable ex-boyfriend and his tell-all manuscript to Sam’s juvenile conceit that he’s figured out some new dating angle is very impressive for a first time screenplay.

While the humor is too understated to set the film apart from superior rom-coms, making Coiro’s work ultimately as forgettable as its title that sadly never pays off on the promise or allusion to Joni Mitchell, A Case of You is still a warmhearted effort that’s sure to inspire discussion about the ups and downs of love in the time of Facebook.

As succinct as a Facebook profile (by clocking in at a mere 91 minutes), this IFC Films release hits shelves just in time for Valentine’s Day. And even though it’s light on special features, by managing to work in an opportunity for Across the Universe star Evan Rachel Wood to delight viewers with a song, this enjoyable film gives us the greatest bonus in the feature film itself by bringing us both music to our ears and a potential status update to “like” on our Facebook page.

Text ©2014, Film Intuition, LLC; All Rights Reserved. http://www.filmintuition.com Unauthorized Reproduction or Publication Elsewhere is Strictly Prohibited and in violation of the Digital Millennium Copyright Act.  FTC Disclosure: Per standard professional practice, I may have received a review copy of this title in order to evaluate it for my readers, which had no impact whatsoever on whether or not it received a favorable or unfavorable critique.

Blu-ray Review: Elf -- Ultimate Collector's Edition [Holiday Gift Tin] (2003)

Now Available to Own 

If you took the same syllogistic “if a then b” logic and applied it to actors in a Six Philosophical Degrees of Kevin Bacon style manner, it stands to reason that Meryl Streep must be quite a fan of Will Ferrell.

Instead of dishing up a generous helping of glittering generalities while praising Ferrell's onscreen Taladega Nights love interest Amy Adams, her Doubt costar Streep went a step further to describe Adams' level of talent by acknowledging her gift for believably portraying innocence, which Streep reveals is one of the hardest characteristics to successfully carry out.

And sure enough, there's some degree of innocence that floods through the often outrageous fictitious creations that Ferrell has brought to life in movies like Anchorman, Stranger than Fiction and Step Brothers whether it's in his man-child Adam Sandler-esque personae or through the mask of ignorant arrogance his alter-egos adorn like a shield to cover up their emotional immaturity.

Yet, it's hard to argue that – more than any of his other characters and right on par with Adams' turn as an out-of-her-element princess who goes from Disney animation to live action Manhattan in Enchanted – Ferrell's role as an orphan raised among Santa's elves in the North Pole before winding up in the Big Apple in search of his biological father is his most heartfelt, innocent and guilelessly masterful portrayal yet.

The fact that Ferrell makes it look so effortless and natural is a testament to his skill since admittedly at times the role of Buddy the Elf does walk a fine line between innocence and immature idiocy and a lesser actor may have turned Buddy's naiveté into an opportunity to play it far too broadly. However, even when Ferrell does burst with energetic non sequiturs and sugar-induced jolts of hyperactivity like a kid in a candy store, we're never in doubt that his motives are sweeter than a candy cane, his heart is in the right place and it's completely within the context of the character.

Likewise, Ferrell resists the temptation to break character as well as the fourth wall even for an instant to wink knowingly at the audience in reference to the sheer ridiculousness of some of the situations that comprise director Jon Favreau's now contemporary Christmas classic. In doing so, he remains utterly genuine from start to finish, taking in the city he lived and worked in as a cast member on SNL as though he'd never been there in his entire life.

After roughly thirty years of ignoring the obvious signs that he wasn't an elf, the former orphan who as a baby crawled into the bag belonging to Santa (Ed Asner) is sent on a journey to track down his real dad (James Caan) by his loving adoptive father (Bob Newhart). Determined that a little Christmas cheer is all that his workaholic book publishing papa, Walter Hobbs needs to get off Santa's naughty list, Buddy doesn't let a little thing like Empire State Building security guards spoil his first meeting with the man who never even knew he'd fathered a son.

Needless to say, the arrival of an always cheerful thirty year old grown man wearing a green elf's uniform complete with matching tights takes Walter by complete surprise as he reluctantly gives into the wishes of his loving, thoughtful wife (Mary Steenburgen) and brings Buddy home to stay at his place with his tween son (Daniel Tay) until he adjusts to life away from the North Pole.

In a creative holiday movie lover homage to the classic Christmas feature, Miracle on 34th Street that, like Elf urges viewers to renew their childlike belief in Santa Claus and share in the true meaning of the holiday, Buddy gets work in a department store's North Pole display where his commitment to authenticity gets in the way of the store's commercial celebration.

And just like a department store aims to fit the needs of a diverse clientèle, Elf successfully manages to appeal to a wide range of viewers. An unlikely coming-of-age picture that's also effective as a fish out of water culture clash comedy, Elf is especially meaningful for children who were adopted as well as those who “feel different” than the rest whether it's anything from ethnicity to disability etc.

Additionally, it's a great crossover effort for both independent filmmaker Jon Favreau into the type of big budget blockbusters he'd eventually embrace by taking the helm of the two recent Iron Man movies along with its star who was in dire need of breaking out of the “frat pack.” Just in time for the holidays, Elf is made all shiny and new again in Warner Brother's adorable collectible tin box set.

Given a terrific high-definition transfer to Blu-ray that accentuates its slick production values and feisty musical choices that incorporate Louis Prima and actress Zooey Deschanel who would later enter the music business, the set includes a soundtrack sampler along with gift tags, a holiday stocking and picture frame along with an extra digital copy of the film to download to your portable devices.

More than just another terrific Christmas comedy, Elf reaffirms a child's need to explore their imagination and belief in Santa Claus as well as being part of a loving family unit. At the same time, it inspires genuine laughter in adults who can identify with Buddy's sincerity and his off-the-wall plight in addition to the nostalgia of the season that the film utilizes from start to finish.

When epitomized by a sugar crazed Will Ferrell who just wants to be loved, innocence never felt more hilarious or heartwarming. Now if only we could get Ferrell and Streep to star in a movie together before next season!

Text ©2010, Film Intuition, LLC; All Rights Reserved. http://www.filmintuition.com Unauthorized Reproduction or Publication Elsewhere is Strictly Prohibited and in violation of the Digital Millennium Copyright Act.  

FTC Disclosure: Per standard professional practice, I received a review copy of this title in order to evaluate it for my readers, which had no impact whatsoever on whether or not it received a favorable or unfavorable critique.

DVD Review: The Chronicles of Narnia: Prince Caspian (3-Disc Collector's Edition)

Arriving on Disney
DVD & Blu-ray 12/2/08

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Perhaps in an attempt to soothe our optimistic anxiety of the promises which were to greet us just outside the school doors before any given Fall, Winter, Spring, or Summer break, it became a tradition in my K-12 public school system for teachers to entertain us with movies. Renting those awkward and clunky TV/VCR combination carts from the Audio Visual Department that took our poor instructors twenty-five minutes to get working as their foreheads crinkled with each audible sigh and exasperated remark from the technologically savvy observations of my classmates who suggested plugging in the cord or changing the channel to "Video Three," we never knew just what would be screened for our viewing pleasure.

Of course-- anything being preferable to fractions and fill-in-the-bubble with a number two pencil tests-- we didn't much care if it was the inspiring sports films favored by gym teachers like Hoosiers, those from the child-friendly oeuvre of John Hughes or Steven Spielberg or the newest videotape from Walt Disney Home Studios Entertainment. However, there was one exception to the rule-- at least in the eye of this viewer, a budding critic who already received her name on the board (the one and only time) for expressing dismay at a particular classic in the second grade. Specifically, this was when without fail, every year we were force fed the old school version of The Chronicles of Narnia: The Lion, The Witch and the Wardrobe.

Memories of the creepy White Witch, that smug little kid so easily manipulated and willing to gorge himself on a nasty diet of British delicacies like Turkish Delight (which still sounds like something you'd reject as a meal in the Coach section of any major airline) and the continual frustration of only being able to watch the beginning over and over and over again made me dread Narnia like the dentist. Never one for fantasy and someone who had trouble staying awake through the first Lord of the Rings-- it was only after a graduate level course focusing on Harry Potter that I began to appreciate the nuances of the genre and how much J.K. Rowling "borrowed from authors" of the past whether it was Tolkien, Lewis, Dahl and many, many others.

And likewise, once Disney and Walden Media got involved with the Lewis's Narnia-- trying to carve out a slice of the veritable science fiction/fantasy movie box office ATM that dished out so much money with LOTR and Potter, I became fascinated to try and get reacquainted with the storyline despite mixed reviews. And finally when I began hearing the raves about the thematically different and more action packed sequel Prince Caspian, I knew I needed to check it out.

While admittedly, the first film caused numerous yawns throughout despite a wickedly brilliant turn by Oscar winner Tilda Swinton as the White Witch, Prince Caspian simply astounds as one of those rare sequels that far surpasses the original. Yes, still annoyingly it's overly long in places as we're dished out a Disney-light take of Lewis's penchant for Christian dogma. However, the benefit of this particular version is that it ramped up the action and made the look of the film so much more international that instead of getting that claustrophobic, limited, and lily-white view of Aslan the lion and the White Witch, we're able to take the subtext of having faith as staying true to yourself or your imagination-- a very Disney principle of wishing on that famous star.

Although my interest was piqued by Caspian (which was definitely helped by posters of its frankly dishy twenty-something swashbuckling lead sporting Johnny Depp styled hair and model ready cheekbones), the one-two punch leveled by Robert Downey Jr.'s Iron Man and Harrison Ford's Indiana Jones knocked it off the block completely. Crashing and burning not quite as badly as Speed Racer which revved onto DVD and Blu-ray a mere four months after its initial release, the incredible DVD and Blu-ray marketers at Team Disney pulled out all the stops with a stunning variety of releases for Caspian.

While of course those who've already experienced their Blu-ray line know about the Disney BD-Live feature, DVD owners are in for quite a treat as well with this 3-Disc Collector's Edition, which includes the feature film transferred in its original widescreen aspect ratio on the first disc which also includes filmmaker commentary as well as a second overflowing special features disc but a third one which boasts viewers the option to download the film as a Disney File Digital Copy which allows you to travel along with Narnia on your iPod and other portable devices.

Serving up a much darker, action packed, and adventurous Arthurian Knights of the Round Table styled adventure, we're introduced to our hero the Prince Caspian (Stardust's Ben Barnes) who is set-up for assassination by his evil uncle (brilliant Italian actor Sergio Castellitto). When he makes his way to the wooded forest and sounds the call for help, the Pevensie foursome from the original are transported from London to Narnia once again, only to discover a world where the magic and its eccentric inhabitants have been subjugated by the Telmarines.

Offering Susan (Anna Popplewell) the chance to play a warrior like princess-- er, Queen-- the group initially explores the remarkably picturesque landscape only to answer the call from Royal Duty to kick-butt duty a bit too readily, stepping in to help the people of their land without blinking an eye. The first beneficiary of their assistance is the always welcome Peter Dinklage (The Station Agent, Find Me Guilty, Elf) as a Ben Folds-like "one angry dwarf" or as Queen Lucy (Georgie Henley) refers to him-- their new "dear little friend."

While unfortunately, Caspian seems to foreshadow that my two favorite Pevensie children-- Susan and High King Peter (William Moseley)-- both far less irksome than the whiny Edmond or pious Lucy will probably be relegated to the sidelines if the next sequel (Voyage of the Dawn Treader) is made, at least we're able to relish in their great turns in this film. Although, it does take nearly a full hour for the Pevensie quartet and Prince Caspian to cross paths.

Making up for the building plot with some tremendously astounding action sequences-- the storming of the castle at night is a particular highlight-- and are breathtaking landscapes-- the DVD's sound is phenomenal whether it's played via a receiver or on a stereo television as each and every hoofbeat and flap of a wing is heard. However, while the picture quality-- especially the mind-boggling CGI we learn more about in the Previsualization portion of a Disc 2 featurette-- is incredible, the film is best viewed on the largest screen you have access to and in the darkest room as it's predominantly dark gray, black, brown and night filled landscape and color scheme makes for some tricky viewing that would perhaps benefit from HD, Blu-ray, or from playing with your sharpness option on the remote.

Again offering a superlative number of extras on the second disc that displays the extraordinary amount of talent involved (the film's final credits-- featuring the beautiful closing song "The Call" by Regina Spektor and many other tracks-- runs over ten minutes), Disney delivers more than just run-of-the-mill promotional material.

Although its menu uses a font and text color that's incredibly faint and hard to read (light gray on a foggy, cloudy background), viewers are invited "Behind the Magic" for first-person accounts from cast-mates, the co-writer and director Andrew Adamson, the many members of the effects team, wardrobe, location scouts and more. Leading off the disc with a roughly thirty-five minute "Return to Adventure..." mini-documentary, the charismatic director and producers discuss the many, many obstacles of making the first movie along with essentially getting the same incredible band back together of those who'd stayed available to work on the sequel, as we witness the tremendously complicated shoot which involved eight to twelve hundred people on any given day with numerous departments working in tandem on different aspects. From nightly "tick checks" in risky locations and chronicling the globe, touring the sets with a relative of C.S. Lewis, and checking out the video game like Previsualtion and pre-editing of those amazing fight sequences, we're led into numerous creative enterprises as the movie began to take shape but one of the best featurettes by far, was "Big Movie Comes to a Small Town."

Clocking in at around twenty-three minutes-- yet filled with historical facts, poetic beauty and subtlety--Andrew Adamson introduces us to the residents of Bovec, Slovenia along with the emerald green river Soca, which he found to be the most spectacular river in the world. Filled with interviews with residents in subtitles, the filmmakers discuss the obstacles facing them in working in such a small historically significant town with the exceedingly well-protected water before going further back into history tying in some heartbreaking events from World War I and also managing to work in Hemingway's Farewell to Arms. A featurette of remarkable beauty and a highly welcome one that goes against the grain of required bloopers and interviews, it's these little touches that crop up surprisingly throughout the well-packed second disc that make it well worth exploring.

Although it was the winner of the Heartland Truly Moving Picture Award, I must admit that despite its bloodless battles, the incredibly audacious action sequences and emphasis on flying arrows and dueling swords make it a film richly deserving and even pushing its PG rating to the limit. Yet Prince Caspian is a remarkable fantasy picture, in lieu of its trying 149 running time, that would've benefited from more than twenty minutes of trimming. However, this being said, it works effectively even for those who-- like me were a bit Narnia shy given the yawn-inducing Lion, Witch and Wardrobe-- or for those unacquainted with the work of C.S. Lewis. Releasing just in time for the holidays and no doubt in time for teachers to begin trying to bring it in before winter break-- hopefully they've come a long way since the days of the squeaky cart and blinking clock so kids will get a chance to fully delve into the wonder of Narnia adventure and away from those pesky fractions.

Get Caught Up
(Watch Part 1: The Lion, The Witch & The Wardrobe)

Death at a Funeral

Director:
Frank Oz

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Growing up in Minnesota, I came to love theater at a young age whether it was being cast as part of the Emerald City in The Wizard of Oz since I towered over all the boys or trying to secure as many musical solos as possible in my junior high production of Little Miss Christie, before I became solely obsessed with writing, I loved the smell of greasepaint in the evening. Of course, school theatricals aside, we lived in one of the most exciting cities for the arts being located near several theatres such as the legendary Guthrie Theatre but I remember having a particular fondness for the British farces and comedies that were frequently staged at our Old Log Theater. There in that picturesque rustic setting could audiences see the best of British sex comedies of mistaken identity and misunderstandings and while to some it’s an acquired taste, I’m consistently taken in by the outrageous setups and casts of dozens of actors who, like members of a great jazz band, all get their chance to experiment, riff and shine under their spotlight like Golden Gods as Billy Crudup in Almost Famous would say.

In film, it’s a rare and sometimes unsuccessful proposition that doesn’t always equal big bang for the box office buck but when it’s done right in films such as A Fish Called Wanda or Noises Off, there’s nothing greater and such is the case with American director Frank Oz’s Death at a Funeral. Working from a script by Dean Craig and filmed in a breakneck seven weeks according to IMDb, Bowfinger, Dirty Rotten Scoundrels and In and Out director Oz introduces us to Daniel (Matthew Macfadyen), a kind, upstanding and good man married to Jane (Keeley Hawes) who still lives at home with his mother (Jane Asher). After his father dies, the responsibility to plan the funeral falls to Daniel and everything appears to be in order until the arrival of the casket and the guests lead to incredibly bizarre, uncomfortable and hilarious complications that I won’t begin to explain for fear of spoiling here in a plot summary. Suffice it to say, secrets are revealed in the form of a mysterious American dwarf (The Station Agent’s Peter Dinklage) who shows up out of the blue but he’s only one tenth of the story as the relatives and friends arrive with baggage and agendas all their own as one man tries to win back Daniel’s engaged cousin with whom he shared a one night stand, hallucinogenic pills circulate in the form of what is perceived to be Valium, and Uncle Alfie (Peter Vaughan) just really can’t stand anybody.

With so much plot and characters all crammed into a brisk running time of less than two hours, I was constantly amazed that nothing got lost in the shuffle and instead of feeling slighted, with the situations and characters growing wilder by the minute, we’re never asked to buy into even more outrageous humor than what seems—although highly unbelievable—fitting to the story that the ensemble, Craig, and Oz are trying to tell. Scene-stealers abound and come mostly in the form of the film’s most valuable player Andy Nyman as Daniel’s loyal if slightly dim best friend Howard and there’s a highly entertaining outtake reel on the DVD to show just how hard the actors all had to work to keep from laughing. The kind of film you’ll definitely want to share with friends and watch more than once-- the sleeper with the solemn title, Death at a Funeral is one of 2007’s funniest films.