Tag Archives: Comedy

How to Get Some Life Lessons from the “Bad Teacher” Cast

We all remember a teacher we didn’t like growing up – the one who smelled bad or who hated you just because or was a mean as a snake. But I’m pretty sure we never had a educator quite like Elizabeth Halsey.

As portrayed by Cameron Diaz, Elizabeth is a very, very bad junior high English teacher indeed. She drinks, smokes, curses and has absolutely zero interest in teaching anyone anything. In fact she’s only doing the school thing because she needs to find another sugar daddy pronto, setting her sights on the new, filthy rich substitute Scott Delacorte (Jason Timberlake) and deciding she needs a boob job to get him. That’s it. That’s her motivation through the whole movie.

Directed by Jake Kasdan (Orange County), the rest of the hilarious cast is rounded out by Forgetting Sarah Marshall funnyman Jason Segel, The Office‘s Phyllis Smith and Dinner for Schmucks actress Lucy Punch. They all gathered one bright Sunday morning in Los Angeles for a press conference to talk about the meaning of Bad Teacher.

On playing someone with such wrong self-image values:

Cameron Diaz: “Obviously, if I felt I could get somewhere by having bigger boobies, I would have done it by now. For her, it’s everything. It’s called hard economic times, ever heard of this? You couldn’t get a millionaire like you could three or four years ago before the crash. It’s an investment. Even Suze Orman would have been like, ‘Girl, five year plan.’ To get what you want, you have to have a goal. And for her, it’s to invest in her business of finding sugar daddy. It was fun to make fun of it.”

On making Elizabeth likable, despite all the flaws:

Diaz: “I read 30 pages into the script thinking, ‘There’s no way I’m playing this character. How can I redeem her? This is a horrible person.’ But then 10 pages more, I was like, ‘Uhh, I think I like her!’ By the end, I was like, ‘This is amazing because I don’t have to apologize.’ And that’s the beauty of this script, such a breath of fresh air. Usually you spend the last 20 minutes of the film apologizing for the first hour and a half because you can’t own up to what it is. In life, you don’t have epiphanies and just change your life. It happens but it’s not the norm. I just think at the end she slows down the train a little so she can jump off and climb on the train going the opposite direction.”

On Elizabeth and Scott’s dry humping scene (yes, you heard correctly):

Justin Timberlake: “Nothing wrong with a jean jam. And collectively, I think we all felt a responsibility to those young people who are buying tickets to other movies and sneaking into ours. It’s a public service announcement to safe sex. No one got pregnant with their jeans on.”

Diaz: “That’s pretty much the only message in the movie that we are proud of. If we are going to be role models in ANY way, we should at least offer a jean jam.”

On SNL changing Timberlake’s life:

Timberlake: “I grew up with SNL as an institution. It is part of the humor and chemistry I had with father, who let me stay up and watch it with him. I came from a divorced family and I didn’t get to see my father a lot, so it’s something we shared and is special to me. Just a huge fan of the show. And to be honest, I’m here at this press conference because of SNL. I have no doubt in mind about that. I owe getting a shot to be in Bad Teacher directly to Lorne Michaels and SNL. I’m not a five-timer yet, only hosted four times, but just to be there and rock out with all I got. And can I just say… that really IS a thoughtful Christmas gift.”

Jason Segel: “I’ll join the five-timer club when I host SNL FIVE MORE TIMES.”

On the fact women behaving badly is so funny these days:

Diaz: “Women have always behaved badly. Maybe more so than men. Any of my friends, if I tell them what women really talk about, they’re like ‘lalalaalalaalala’ and plug their ears. They can’t take it. But I think now, these kinds of films, everyone can laugh at them. I mean a male could have played this role and it would have been just as funny.”

Timberlake: “As a male who likes the dirty things women say, I think funny women have been around forever. Carol Burnett, Madeline Kahn. There’s always been genius female actors in comedy. I also think we live in an age where technology has afforded a generation who look at the world in a more crass way. The Internet is a really strange place to be. Like Cameron said, that’s the coolest thing about this movie, that a male actor could have played the role but it’s great to see a female do it and do it as well as Cameron does it.”

Segel: “I feel like the boob story would have had to change a bit.”

On the cast chemistry:

Timberlake: “After the first week of rehearsal – and orgy – it all kind of came together.”

Jake Kasdan: “It wasn’t that hard. We just really funny people to play every single part. The material was great… it wasn’t that hard.”

Diaz: “It was comedy marksman, precision. Pull the arrow back, slow the breath down and shoot. Bullseye! You had to be like that with the fast paced comedy. Jake would come up and give me notes and then wouldn’t say anything to Jason, and Jason would say, ‘So just be as awesome as I was last time?’ [Segel looks at Kasdan and nods]”

Segel: “I’m just super good at this. When you’re in a cast like this, there’s a sort of mutual admiration society element to it, especially when you are off camera, sitting in awe, watching great comedians do their thing. That’s when I feel the luckiest and also the most humble, working with people who are actually amazing at what you profess to do.”

On having memorable teachers:

Segel: “I’d like to give a shout out to my high school drama coach. He changed my life. Right before I left high school, my last high school play before I met Jake [looking at director Jake Kasdan] and started working on ‘Freaks and Geeks,’ wow, 13, 14 years ago? Anyway, my drama school told me, ‘Don’t forget, the best actor in the world is out there stuck doing dinner theater somewhere, so don’t ever get arrogant, thinking you are entitled to this.’ It stayed with me this whole time.”

Timberlake: “I had a teacher in 7th grade who told me to have more realistic goals than being a songwriter and that my school work was suffering. And I like to say to her, and you can quote me on this: Suck it.”

Phyllis Smith: “All of my teachers were exactly like Elizabeth. So that’s they way I am.”

Opinions on the public education program:

Timberlake: “Man, we’ve got to figure out how to pay our teachers more. They are like our surrogate parents away from home. In doing these interviews and hearing you guys ask us about having “bad teachers” – which I get, it’s a natural question – I’ve come to realization the teachers I remember the most were the ones who taught me life lessons rather than just trigonometry. They have such a huge responsibility and under appreciated and underpaid.”

How to Watch: “Bridesmaids”

Step 1: Begin by chuckling. Bridesmaids might not be the best comedy ever, but there are some individual scenes that will leave you in a heap on the floor.

Step 2: Then starting giggling. We all know how excruciatingly funny SNL alum Kristen Wiig can be, but up to this point, she’s only had well-placed supporting roles in feature films. Now with Bridesmaids she makes her first foray into leading lady status — and god bless her, she does it the right way, by surrounding herself with equally funny people she has worked with before, including her old SNL pal Maya Rudolph. Wiig plays Annie, a down-on-her-luck 30-something who suddenly finds herself maid of honor for childhood best friend Lillian (Rudolph). Annie is game — at first. Then she meets the other bridesmaids: the co-worker (Ellie Kemper), the cousin (Wendi McLendon-Covey), the soon-to-be sister-in-law (Melissa McCarthy) — and Helen (Rose Byrne), the Ms. Perfect wife of Lillian’s fiance’s boss, who regularly outshines, outpays, outmaneuvers and basically outdoes Annie in every way. Of course, this drives Annie mental, and she quietly starts having a nervous breakdown. It’s pretty damn funny to watch.

Step 3: Really get a good laugh going. Wiig handles her starring role outrageousness with aplomb, even if it rises a little bit too over the top. But then again she co-wrote Bridesmaids with another old friend, Annie Mumolo, so the action – and the laughs – spring from a deep friendship. We already know about Wiig and Rudolph, but Wiig also did sketch comedy at the L.A. Groundlings Theater with Mumolo, McCarthy (Mike and Molly) and McLendon-Covey (Reno 911). There’s a simple ease to the comedy in Bridesmaids because these ladies have all known each other for years – and most likely peed themselves silly through most of it. Even Kemper (The Office) has major improv experience and fits right in. The only novice to the group is Aussie actress Byrne (Damages), who manages to hold her own quiet nicely. Besides, she isn’t supposed to be the funniest woman in the room. No, those honors would have to go to McCarthy, who literally grabs every single scene she is in and wrestles it to the floor – and for once, what she says in the trailer is only the tip of the hilarious iceberg.

Step 4: Start snorting. As for the male counterparts in the film, they do take a back seat. Still, Jon Hamm is fairly priceless as Annie’s vain f**k buddy (one of the stranger sex scenes I’ve even seen), while Irish actor Chris O’Dowd is a sweet antithesis, a down-to-earth cop who falls for Annie and tries to help her out of her pity party. The biggest male influence, however, would have to be producer Judd Apatow, who gave Wiig one of her first standout feature film gigs in Knocked Up. He didn’t direct Bridesmaids (that would be TV director and longtime Apatow friend Paul Feig), but Apatow’s touches are everywhere.

Step 5: Fall about the place. So, why isn’t Bridesmaids the funniest comedy of all time? First, that’s a tall order to fill. Second, there are moments when the story starts to sag, especially when Annie just keeps hitting the rock UNDER rock bottom. For me, it’s a bit tiresome. But as I write this and remember those scenes that made me weep with laughter (like the one where they all have food poisoning, trying on bridesmaids dresses), everything else fades away. Seriously, I haven’t laughed that hard at comedy in a long time. And I cannot WAIT for the DVD! I’m hoping they have a blooper sequence to end them all.

How to Watch: “Easy A”

Step 1: Right off the bat, let’s just go for the total cliché, shall we?  Easy A gets an A+ for keeping the teen high school comedy clever and quirky.

Step 2:
Admire any teen comedy that strays off the beaten path and thoroughly entertains. Films like Mean Girls and Superbad come to mind — and now Easy A. Story centers on one particular student named Olive (Emma Stone), who doesn’t really follow any kind of clique, mostly stays by herself or with her BFF, Rhiannon (Aly Michalka), and is one smart cookie. Although most real-life teenagers would never be as eloquent as Olive, she is, nonetheless, a reasonably realistic teen, who deals with the mundane with a wry sense of humor. She gets this, as we come to find out, from her eccentric parents (Patricia Clarkson and Stanley Tucci)… but more on that later.

Step 3: Give an A for effort. The trouble begins when Olive lies to Rhia about sleeping with a college guy, which is then overheard by the school’s Christian youth leader (Amanda Bynes) and is circulated appropriately. And although Olive starts to get some serious cred from this alleged promiscuity, she knows she’ll have to fess up and say it didn’t happen. Or does she? She does tell her gay pal Brandon (Dan Byrd) the truth, but he sees it as an opportunity to call off the mean dudes who pummel him regularly — that is, if she agrees to pretend to have sex with him. It seems Olive is a sucker for a sad case and says yes, which, in turn, leads to more sad cases until Olive becomes the  A-No.1 “fake” harlot of the school. Rather than correct the situation, she embraces it, embroidering the letter “A” on her new, sluttier wardrobe – symbolizing Hester Prynne’s predicament in The Scarlet Letter, a book she is reading in English class. Of course, things get pretty nutty fairly quickly, but Olive thinks she’s found a solution to get her out this mess.

Step 4: Kudos to first-time screenwriter Bert V. Royal for taking a staid genre and making it wholly fresh. It’s  obvious he has a thing for John Hughes/Cameron Crowe ’80s teen comedies (which Olive makes reference to at one point) – and why wouldn’t he? Sixteen Candles and Say Anything are some of the genre’s classics. But Royal spins his own tale, and seriously, you know you have a solid, intelligent script if you can attract the likes of Oscar nominees Patricia Clarkson and Stanley Tucci to star in a high school comedy. Tucci and Clarkson are, by the way, one of the best parts of Easy A, having almost too much fun as Olive’s forward-thinking parents, who also instill goodhearted familial values. The other best part is Emma Stone, who shoulders her first film after impressive supporting roles in flicks like Superbad, Zombieland, The House Bunny and yes, even Ghosts of Girlfriends Past. Her comedic timing is impeccable, and she never seems to force anything, letting it grow organically. If she continues to pick smart projects like she has been, we’ll be hearing from her for a long time.

Step 5: Other standout performances include Thomas Haden Chuch as Olive’s cool English teacher and Lisa Kudrow as his kooky wife and school guidance counselor, who has a secret of her own. It’s also nice to see Amanda Bynes back in the comedy swing of things, playing the uptight Jesus freak, while Gossip Girl‘s Penn Badgley aptly suffices as Olive’s object of unrequited affection. And finally, a word about director Will Gluck, who makes Easy A his second film. Gluck, who is best known as a TV writer and producer, made his directorial debut with another teen comedy, Fired Up! — which, aside from some typical conventions, isn’t half bad. But he’s improved a great deal with Easy A, taking Royal’s sharp script and visualizing it sufficiently. Gluck’s next film, which he also wrote, is the Justin Timberlake/Milas Kunis yarn Friends with Benefits. Kinda looking forward to it now.

Level of difficulty in watching Easy A: Easy peasey. Go see the easy on the laughs, entirely enjoyable Easy A.

How to Watch: “Get Him to the Greek”

Step 1: Get yourself to see the Greek. It’s a raunchy, tasteless, hilarious — and surprisingly poignant (at times) — spin on the washed-up, pampered rock star motif.

Step 2: Follow the formula, but change it up. Russell Brand reprises his Forgetting Sarah Marshall role as British rocker Aldous Snow, who is still outspoken, randy, spoiled, wasted, unruly, yet occasionally talented — and having a career crisis after his last album crashes and burns. Enter Aaron Green (Jonah Hill), a lackey working for Snow’s record label, who is also one of his bigger fans. Green convinces his narcissistic boss (Sean Combs) to put on a live concert in L.A. with Snow headlining and is sent off to London to make sure Snow arrives on time. And so the insanity begins …

Step 3: Hire a hilarious cast. What sets Greek apart are Brand and Hill’s performances, especially Brand, who actually shows some chops. His Snow is only a caricature in Marshall, but here, the character is more fleshed out. It’s obvious Snow has some serious issues, substance abuse and otherwise, but he also feels like he let the love of his life go, he cherishes his son and just wants to please his wayward musician dad. Snow realizes he need to do some soul searching before he can turn a new leaf. And Hill’s bookish Green is just the guy to help him do it.

Step 4: Don’t stand out, so then you do. I’m now convinced Hill is those comic actors who isn’t necessarily in it to be the star attraction, say like Jim Carrey or Adam Sandler; he’s a team player, and basically has chemistry with whoever he’s starring opposite with, be it Michael Cera, Seth Rogen and now, Russell Brand. Hill should stand the test of time. The other stand out is Combs as the wacky record producer. One wonders how much of Diddy’s own producing style is represented, but the one crazy drug scene in Greek, when they are all in Vegas, will probably be revered as a classic. Two words: “Furry walls.”

Step 5: Get crazy. Writer/director Nicholas Stoller and producer Jason Segal, the masterminds behind Forgetting Sarah Marshall, mix their particular brand of humor to great success once again. It’s not like they are trying to reinvent the wheel with Greek, but they do take a few different spins with the genre, which keeps it fresh. Stoller’s skillful hand at getting the right performances certainly helps, plus the montages are the freakin’ hilarious, as far as montages go. Sometimes they are staid plot devices, but they totally work with the film.

Level of difficulty in watching Get Him to the Greek: Pretty easy. All in all, Get Him to Greek is a somewhat expected but also surprisingly competent summer comedy.

How to Interview: “MacGruber” Saves the Day

By Robert Sims, Special to the MovieKit.com

No matter how many MacGruber blows himself up, he always seems to live to screw up things another day.

But the raciest, sexist dolt who would be MacGyver now faces his greatest challenge: luring audiences away from their TVs to go to the theater to see the first Saturday Night Live-originated film since 2000’s lamentable The Ladies Man. In MacGruber, Will Forte’s special op teams up with trusty sidekick Vicki St. Elmo (Kristen Wiig) and the perpetually flabbergasted Lt. Dixon Piper (Ryan Phillippe) to stop madman Dieter von Cunth (Val Kilmer) from launching a nuclear strike against the United States. Mayhem ensues, mostly as a result of the incompetent MacGruber’s bumbling ways and his willingness to place a piece of celery in a place where the sun don’t shine.

Forte, Wiig, Phillippe and Kilmer joined director Jorma Taccone — an SNL writer responsible for creating such classic digital shorts as “Dick in a Box” and “Lazy Sunday” with his Lonely Island cohorts Andy Samberg and Akiva Schaffer — to discuss MacGruber’s latest mission.

Step 1: Create the perfect MacGyver parody
Will Forte:MacGruber was Jorma’s idea. He kept coming to pitch it. Every week he would pitch it, for the sketch, and I would say, ‘No, I don’t want it, I don’t think so.’ He did enough weeks in a row where finally to shut him up we said, ‘Let’s write it.’ It was really his idea from the beginning.”

Jorma Taccone: “I’m not very good at pitching. Every Monday we have to get into Lorne’s [Michael, SNL’s creator and executive producer] office, all writers and cast. We get into the room and have to pitch in front of the wildly famous host. It’s really nerve-racking and I’m terrible at it. It was probably one of my worst pitches ever. I think the pitches went something like, ‘You play MacGruber, who defuses bombs only using pieces of shit and pubic hair, so nobody wants to hand you any of the items.’ And I got the worst groan ever.”

Step 2: Think big-screen
Taccone: “Lorne’s always been a real champion of MacGruber. He’s always really like it as a sketch. When the opportunity presented itself for Pepsi to maybe do something with SNL, he came to John [Solomon], Will and I. That propelled it into a little more of a national conscious. Not like SNL is not in the national conscious. But a ton of people watched that [2009] Super Bowl. There are people who don’t know MacGruber except for those Pepsi commercials. We sorta made that on spec. We made it entirely without Pepsi’s revision. We always wanted to make a commercial where he sells out because that’s well within his character. Because we had Richard Dean Anderson, we shot two MacGrubers, six individual little snippets. Because we had Richard Dean Anderson we didn’t know whether we would get the Pepsi commercial on the air. We shot one where MacGyer is MacGruber’s dad, and he’s also a little bit of a bit of shit. That propelled into the idea of it being a film. And then the opportunity came up, that there might be this opportunity—several different studios were interested in the idea—so we wrote a script and were really excited about it.”

Step 3: Make like MacGyver and work wonders with what you have
Tacoone: “The budget on this was $10 million…. It’s still a lot of money, but what we were able to get out of it is pretty awesome.”

“There’s a scene in the movie where they find MacGruber in a monastery. He’s reluctant to join this mission because there’s too much pain in his past. He wakes up from a nightmare and see Dieter von Cunth’s portrait on the wall. He was going to throw a lantern at the picture, burn down the whole monastery and walk away in slow motion like he’s a badass. These poor monks had to put out the fire. That was one of the things we couldn’t do: too much money.”

Step 4: Say goodbye to your dignity
Forte: “In Albuquerque, [Forte’s mother] came to visit. The final day she was get was the day we were doing the celery scene. I had prepared her. She’s been kinda prepared my whole life, but that was like … it wasn’t her so much. I was completely naked and cupping my genitals and placing this piece of celery and looked over and there was my mom standing, watching with no judgment: ‘This is what my son is doing.’ Next to her were her two friends who were not as excited about being there. I apologize.”

Step 5: Never work with props
Forte: “When we first got to Albuquerque and went to the Embassy Suites, as a joke, I guess they knew it was in the script, there was some celery that was in this care package that they had left in there. So we all came in there and were workshopping the placement of the celery. [Jorma] had a little Flip camera. He filmed it. Throughout the next couple weeks people would come up to me and say, ‘I saw the celery thing.’ He would send it to every people.”

Tacoone: “I just showed it.”

Kilmer: “I called Jorma in the middle of that and he said, ‘I can’t talk right now because we’re working on some props.’”

Step 6: Make (courtesy) pillow talk

Wiig: “When you do a sensual love scene with Will Forte, there’s a little barrier between—”

Forte: “This is only a love scene with Will Forte?”

Wiig: “Is it a normal thing? We are talking about the same thing? He put it in between our areas. Did we really use it?”

Forte: “I didn’t want to? You were the one who insisted on it.”

Wiig: “But we didn’t end up using it, but maybe I got fooled somehow.”

Taccone: “We did with it, it just fell out immediately.”

Wiig: “He had a little sack.”

Forte: “It was a pretty big sack. I think basically we just used a towel. This was not a piece of fabric that you wanted to be around after the filming. It was pretty sweaty and hairy.”

Step 7: Think big casting your villain
Kilmer: “It’s really funny. Isn’t it funny? The last time I read a script, a comedy or otherwise, where I called the agent and said I wanted to do it by about page 30 was a comedy not very many people saw called Kiss Kiss Bang Bang. It was just like that. It was just so good. Every single idea I had Jorma would kinda not let me finish the sentence and go, ‘No.’ It’s only because it was so good there was nothing to add. I just got dressed and tried not to laugh. I blew out a take because Will was so funny.”

Step 8: Understand the difference between directing an SNL short and a feature film
Taccone: “The biggest challenege was trying to keep your head when every day before lunch … or an hour or two before wrap you were told, ‘What are you doing to cut? You’re not going to make a day. You’ve got to cut something in the afternoon, you’ve got to cut something tomorrow. There’s no way you’re making your day.’ We would make our day every single day, but it would be really fast. On occasion you would really have to think on your feet and say, That scene is now a walk and talk with a Steadicam. The hardest part was having to think, How can we consolidate? We wouldn’t do it that much, but we would consolidate certain scenes as long as it wasn’t to the detriment of the film. Directing is just being able to organize your time and not freak out.”

Step 9: Don’t even worry how MacGruber’s success or failure impacts other SNL characters heading to a movie theater near you
Forte: “My mom is giving me pressure. She’s thinking about not inviting me to Thanksgiving if this does not do well at the box office.”

Taccone: “There’s always pressure, but the budget being so low is helpful.”

Step 10: Hope for a sequel
Ryan Phillippe: “Especially in a tropical locale. MacGruber in Paradise.”

How to Spot “The Other Guys”

I’m kinda liking the fact Mark Wahlberg is trying his hand at comedy. Of course, he’s mostly a straight guy — like he was in Date Night — but that works. Now he’s in the buddy cop comedy The Other Guys, with Will Ferrell, playing one half of a detective team who basically sits behind a desk, while the tough cops get all the big car chases. Watch this trailer, it’s hysterical:

How to Watch: “Date Night”

Step 1. Definitely go on this Date. Pairing up Tina Fey and Steve Carell is pure genius, especially as a bored married couple looking to ignite that spark once again but getting too much fire than they bargained for.

Step 2. Don’t over complicate things. A good comedy usually starts with a basic premise – and Date Night is no exception. Fey and Carell play Claire and Phil Foster, a suburban New Jersey couple with kids, who have hit a stagnant, but not altogether uncomfortable point, in their marriage. Neither of them really see it as a major problem – until they see their friends break up for similar reasons. So, Phil decides he’s going to take Claire to the Big Apple for their weekly “date night,” to spice things up, and that’s where it all goes awry. First, they try to get into a trendy restaurant without a reservation, which ain’t happening. But rather than just go home, Phil is bound and determined to show Claire a good time and so claims the rezzie for the “Tripplehorns” when the couple is a no-show. “Who does that?,” the Fosters are continually asked throughout the movie. Then, in a classic case of mistaken identity, the Fosters are accosted by two dirty cops, roughed-up, shot at, escape and find themselves on the run through the streets of Manhattan, trying to unravel who the Tripplehorns are and why they are in deep doo-doo. And all the while, Claire and Phil examine their marriage and eventually appreciate the normality of it.

Step 3. Cut out the over-the-top silliness. Date Night could have easily become one ginormously ridiculous situation after another, but thankfully, it keeps the antics to a minimum. Not to say there aren’t a few roll-your-eyes moments, but Fey and Carrell sell this puppy like there’s no tomorrow. It’s like knowing you’re in good hands, with people you trust, knowing they are going to successfully guide through the movie, regardless of how crazy it gets. These two funny people are the best when they are in full banter mode, riffing off each other like the comic pros they are. I wonder what took them so long to make a movie together, but then I realized Fey really hasn’t been making movies for all that long. Now, I’m pretty sure they’re going to reprise the Fosters at some point. Although Carell and Fey are the main draw, there is a standout cameo by Mark Wahlberg, as Claire’s former real-estate client, who helps the Fosters out. He gets to play all hunky and suave with his shirt off. Comedy suits him.

Step 4. Put in a GREAT car chase. Director Shawn Levy (Night at the Museum 1&2) is quickly becoming one of the better and more serviceable comedic directors out there. He helms Date Night with confidence, keeping the pace steady, while allowing for the softer moments between Claire and Phil. Yet, Date Night has one really spectacular car chase sequence that screenwriter Josh Klausner should be commended for writing, and Levy for pulling it off. It is not only hilarious but incredibly inventive. Best I’ve seen in years.

Level of difficulty in watching Date Night: No sweat off my brow. Just knowing it’s Steve Carell and Tina Fey doing the funny stuff is enough.

How Edward Norton Plays Twins

He should have done this AGES ago, but the talented actor finally plays twins in what looks to be a pretty hilarious crime dramedy Leaves of Grass. Check it:

Directed by actor Tim Blake Nelson, this little gem made the festival circuit last year and finally nabbed a U.S. release date April 2. Definitely on the list.

How to “Get Him to the Greek”

The “him” is this scenario is British funnyman Russell Brand, who reprises his Forgetting Sarah Marshall role as bad boy rock star Aldous Snow in Get Him to the Greek. Jonah Hill, whose character idolizes Snow in Marshall, plays a record company intern in Greek, hired to escort Snow to L.A. for a concert at the Greek Theater. I do believe high jinx are in order — at least according to the trailer: