Reviews

This is Graham Chapman's first solo film outside of his work with Monty Python. He stars, produces, and co-wrote the script with his only other frequent collaborator aside from John Cleese, Bernard McKenna (who co-wrote several of TV's "Doctor in the House" and "Yellowbeard" with Graham). It, unfortunately, became a rather doomed project and the end result is pleasant if not hilarious. The Odd Job man was originally to be played by Who drummer Keith Moon, who had to drop out due to commitments to the Who and because his drinking was quite out-of-control at that point. The original director was injured before shotting began and had to be replaced at the last moment. But, Chapman pushed forward. Moon was replaced by comic David Jason, who had appeared previously with Eric Idle, Terry Jones, & Michael Palin on the pre-Python TV show "Do Not Adjust Your Set." The film certainly not bad, but it's one-joke premise is stretched a little thin: Arthur Harris (Chapman) is jilted by his wife and, being too timid for suicide, hires an Odd Job man to kill him.

The wife, of course, returns and patches things up while Harris finds himself unable to reach the Odd job man out to kill him. Chapman's performance is suitably loony and energetic and the cast across the board is pretty good. But, somehow, it all seems lackluster. The film was never even given a theatrical release in the U.S. Too bad, because the film has it's moments and Graham, as all Python fans know, was a very funny, bizarre, intense performer and writer.

Considering the amount of talent in this film, it should have

been a classic. Unfortunately, it somehow falls short of it's

promise. Which isn't to say it isn't good, but there are many

low points as well as high ones. It is most significant for

being Graham Chapman's biggest solo venture outside of Monty

Python and, indeed, his over-the-top performance is one of the

film's treasures. The script was written by Chapman and his

frequent collaborator Bernard McKenna (who also co-wrote "The

Odd Job" and episodes of the "Doctor In the House" series with

Graham, as well as appearing in "Life of Brian") and by comedy

legend Peter Cook (best known for "Beyond the Fringe" & his team

with Dudley Moore). It also reunites Graham with old cohorts

Eric Idle and John Cleese (who, of course, are fellow Python-ites), and Marty Feldman (who did "At Last the 1948 Show"

with he & Cleese). Rounding out the cast are Cook, Mel

Brooks-films refugees Peter Boyle & Madeline Khan, Cheech &

Chong, James Mason, the "Young Ones'" Nigel Planer, and the

"Goon Show"'s Spike Milligan. What keeps the film from

greatness are the uninspired direction of Mel Damski, a dull

performance by Martin Hewitt, and the wildly divergent styles of

the different camps of comedy (Python, Mel Brooks-types, and

Cheech & Chong just don't MESH well). But, there ARE a great

many laughs to be had from

Primarily of historical interest, "Beer and Pretzels" is one of a handful of shorts made by Ted Healy and His Stooges for 20th Century Fox in the early '30s. Most of these shorts are difficult to find, but they are sometimes screened at oddball times on cable stations, like AMC, for instance. Of the ones I've seen, this is not one of the best, but it is by no means bad. Basically, the formula was this: take some musical numbers from Busby Berkeley films that got left on the cutting room floor and pad them out with comedy from Healy and His Stooges. His Stooges, of course, are comprised of Larry Fine, Moe Howard, and Curly Howard, who would later gain immortality and fame as the Three Stooges. But, though, they have plenty of screen time, the show belongs to Ted Healy. At the time, Healy was a huge vaudeville star but is virtually forgotten today (except as a footnote on the careers of the Three Stooges). He can best be described as a '30s Richard Belzer or Dennis Miller - acerbic and abusive, a domineering know-it-all who happens to have some charm and a nice tenor voice. Basically, his "boss" role was overtaken by Moe when the Stooges went solo. In the film, Healy & his Stooges play vaudevillians who are fired as the film opens. They soon find work as waiters in a posh nightclub and chaos ensues. Though their characters are by no means as defined as they would become, it's fascinating to see glimpses of Moe's pugnaciousness, Larry's wishy-washiness, and Curly's overgrown kid act.

People expecting an edge-of-your-seat thriller (which, judging from other reviews on this site, many were) will be profoundly disappointed. What "The Limey" gives us is a deep character study disguised as a revenge flick. The movie is not about drugs, murder, and mayhem, but outgrowing a lifestyle and having your past catch up to you. Steven Soderbergh, a great director, despite a few career missteps, takes some thin material and breathes life and weight into it. Visually stunning with a great cast (Stamp is irreplacable and one of my fav character actors, Luis Guzman from "Magnolia" & "Boogie Nights," comes off very well, too), this is a fine motion picture which elevates the original script tenfold.

The true spirit of Tenacious D is actually captured quite accurately in the other reviews on this site (well, the fanatical ones anyway). For the uninitiated, I'll try to clear things up. Tenacious D is composed of two guys, Jack Black & Kyle Gass, who have a two man band in which they both play acoustic guitar and sing (though Jack is the primary singer). They play some bizarre hybrid of heavy metal and folk. All their lyrics center around how they are truly the greatest band in the universe and have incredible, unfathomable sexual prowess. All of this is sung with 100%, almost hyper-conviction. This is, basically, the joke. I was never a big fan of them live, or their whole act in general (it's amusing and unquestionably original in presentation, but I feel it wears kinda thin fast). However, when Bob Odenkirk and David Cross (and their creative team) from "Mr. Show" got a hold of them for a group of shows for HBO, they transformed the concept into something even better. The show, which presents the two as two out-of-work oddballs who get into all sorts of screwy adventures in between gigs, is as hilarious and out-of-left-field as "Mr. Show" (which is saying something, as "Mr. Show" is the best comedy show of the last decade, easily). Each "adventure" is about fifteen minutes long, each containing a thematically-linked live song. The whole kit-and-kaboodle is bracketed by appearances by Jack & Kyle speaking as hosts directly to the TV audience, as Burns & Allen and Abbott & Costello used to do on their shows. All in all, the total effect is as if "The Abbott & Costello Show" has been updated for the '90s starring Tenacious D and adding music. Did I mention, it was really funny?

Anne Beatts, the only female editor of the National Lampoon in the '70s and an original writer for "Saturday Night Live," created the Nerds (Lisa & Todd) for Gilda Radner, Bill Murray, & Jane Curtin (as Mrs. Loopner). After leaving "SNL" after five years (in 1980), she took the nerds concept and extended it, creating "Square Pegs," a comedy about social misfits in high school. Sound familiar? That's right, "Freaks & Geeks" is NOT that original, it's merely an updating of this short-lived program. What also differentiates the two is that "Square Pegs" was more of a straight comedy, whereas "Freaks" is a "drama-dey" (an excuse for it to be not as funny as "Pegs"). Plus, "Pegs" gave us Sarah Jessica Parker playing a wallflower years before she would become known as an ingenue. The show wasn't brilliant, but it was pretty good and VERY '80s. The fact that "Freaks" is also set in the '80s is further proof of "Pegs" influence.

I was expecting a sort of "second coming of Cheech & Chong" from Dave Chappelle, one of the best stand-ups working today (and a scene stealer in such films as "The Nutty Professor"). Unfortunately, despite the presence of such hilarious performers as Jim Breuer and Harland Williams, "Half Baked" ends up being just that. Despite the obvious fact that such a comedy couldn't really tolerate a plot which took itself too seriously, it's pretty paper thin stuff. I can't help but wonder if some of the film's more subversive moments were left on the cutting room floor. Oh, well. There's still some GREAT lines in the film, most of them delivered by Chappelle (who, being the film's writer, also prooves he's no fool). Breuer, who - with his dropping eyelids - looks stoned no matter what condition he's in, is a perfect choice for the picture, but doesn't get to cut loose like he did on "Saturday Night Live." Williams, who practically walked off with "There's Something About Mary" during his one short scene, is the most endearing of the four leads and very funny, to boot. Guillermo Diaz doesn't fare quite as well, and the female lead is highly irrelevant to the overall film. But, I must give credit where credit is due: this movie has THE BEST LAST LINE IN CINEMA HISTORY.

As you can see from the other reviews on this site, "Magnolia" is receiving a pretty 50/50 "loved it/hated it" reaction. I'm on the side of loving it. There are two main factors which contribute to folks' reaction, both negatively and positively. First, some are frustrated by the fact that the individual stories do not meet up in the end, that they aren't linked together in one huge scene where every character and situation comes together for a nice, tidy resolution. To that, I would point out that the stories ARE all linked together - thematically. Each of the pieces share common emotions and themes. They are all of a piece, though it may not be apparent to those who have had their senses dulled by the same old, tired Robert McKee story structure and must be spoon-fed themes and messages. Second, many view the big incident at the climax (which I will not give away, though many have already figured it out thanks to several loose-lipped reviewers) as a cheap stunt which takes the place of a disciplined, structured resolution. Again, this incident is completely in line with the theme Anderson has set up... it's surrealism (though based on an actual incident) is a treat, a masterstroke, a gift to those who don't mind being blindsided by something wholly original coming out of left field (I wish I could elaborate without spoiling it for those who haven't seen the film). Despite dealing with very emotionally-charged subjects, P. T. A. refuses to manipulate his audience. Unfortunately, many who are used to being manipulated by most Hollywood junk feel they are seeing something dull onscreen in the absence of clear, dramatic signposts ("okay, time for everyone in the audience to cry now!"). And, best of all, Anderson consistently casts incredible actors who seldom get their proper due (like "Close Encounter's" & "A Christmas Story's" Melinda Dillon, "Laugh In!" & "The Blues Brothers" Henry Gibson, Michael Bowen, and P. T. A. vet Melora Walters) and writes parts for them which allow them to go for broke. Some accuse Anderson of being "addicted to excess," but I feel his films are bold and brimming with life. I'll take this film over "Notting Hill" (ugh) any day. People who are complacent in their little "feel good flick" worlds where everything is spelled out in big, bold letters will be utterly lost. This film SHOULD be nominated for several Oscars, though it's difficult to say who gives the best performance as it is such an ensemble piece. Yes, Cruise has one of best roles to date, but he is by no means the top draw here. "Hard Eight" and "Boogie Knights" alumni John C. Reilly, Philip Baker Hall, Julianne Moore, Walters, P. S. Hoffman, W. H. Macy, Luis Guzman, Alfred Molina, & Ricky Jay all tear it up, as do Anderson newcomers Jeremy Blackman, Jason Robards, Gibson, Bowen, and Dillon. One of the best films of the year, a worthy successor to P. T. A.'s previous works, and a film which will incite debate and discussion long after you've seen it.

"Mad Love" is not nearly as well known as other '30s horror classics, but certainly deserves to be! The director, Karl Freund, was one of early cinema's most innovative cinematographers, having worked with F. W. Murnau, James Whale, and others on such gems as "Frankenstein" and "The Last Laugh." The film presents Frances Drake as one of the most emotionally strong female characters to be featured in a '30s flick. Lorre gives one of his creepiest perfomances... it's great, high camp. Colin Clive (Dr. Henry Frankenstein himself!) lends strong support and the comic relief (annoying to some, not to me) is supplied by vaudeville great Ted Healy, the man who brought the Three Stooges together as his second bananas before they went solo. But the star of the show is Freund's direction - this is one of the most eerie, atmospheric films ever made. Sure, it's a bit over the top, but what '30s and '40s horror film isn't? A classic! Do yourself a favor and check it out.

Let me begin by saying I love Mike Myers. I've followed him from his Second City days, through his brilliant work on "SNL," his triumph in "Wayne's World," and up to his classic "Austin Powers: International Man of Mystery." Sure, he's had some missteps ("So I Married An Axe Murderer" and "Wayne's World II" were pretty disappointing), but this is thew first time he's fallen flat on his face. This film stinks. And it's not the toilet humor that sinks it. The main problem is that nearly every joke in the film is a tired retread of a gag from the first one (i.e., "SNL"-er Will Ferrell's Mustafa character's difficulty in dying and Powers' nudity being obscured by well-placed inanimate objects). Plus, once the character of Powers has been put back into his proper context/era of the Swingin' '60s, there is no point for him to exist... I mean, the whole idea of the first film was a "fish out of water" tale of a '60s swinger's ideals being horribly out of place in the '90s. As a result, the comic burden rests on Dr. Evil's shoulders and, though a brilliant character, it's too big a job for him to carry the movie. Heather Graham, though unarguably erection-inspiring, has absolutely zero flair for comedy, unlike Elizabeth Hurley. Graham isn't an especially good actress, but she does have great, big doleful eyes which, when she's given little dialogue and placed in a drama, can convince audiences there is a lot going on in her head, though little actually is. So, she's reduced to being an incredible, blonde piece of window dressing. Fat Bastard is an excuse for Myers to trot out his Scot character he's been doing for years, but obesity and an eccentric accent alone do not make comedy - jokes and situation help (see "Monty Python's the Meaning of Life" for pointers). Myers' biggest charm has been his eagerness for audiences to like him. Here, he appears as if he thinks he can do just about anything and extend no effort in doing it, and the folks will just eat it up. It's a huge turn off... almost as big a turn off as the fact that, when the Box Office receipts were tallied, he was right. If you like Myers and halfway decent comedy, avoid this like the plague.

As is evident from the many split decisions to be found on this site, "Neighbors" is not everyone's cup of tea. However, for those who have a taste for dark comedy, it is quite a good film. As has been stated numerous times, this film was a critical and box-office failure, and there were many tensions between Belushi and the director on set. Despite this turmoil, or maybe because of it, "Neighbors" has an authentically skewed, uncomfortable tone. This works in it's favor, however, considering the subject matter. As does the casting of Aykroyd and Belushi in the roles of tormentor and victim, respectively. This choice is probably most responsible for some's dislike of the film. Unfortunately, Belushi, near the end of his life, was being pigeon-holed as a crass, boorish "wild man" of comedy, mostly due to his turns in "National Lampoon's Animal House" and "1941." However, he was a fine comedic actor capable of great subtlety and fine nuance, which is why he consciously chose the role he did (the film was originally conceived with John in the role of Vic). This film and many scenes from his first year on "Saturday Night Live" grandly illustrate his range. Likewise, Dan Aykroyd was quite an intense performer back then - in many "SNL" scenes (again, mostly from the first year), Aykroyd paraded out a variety of high-strung bizarre characters which practically vibrated with energy... indeed, though he did not end up playing it, the role of "D-Day" in "Animal House" was conceived with Dan in mind. Here, he really gets to cut loose and, as always, his and John's interplay are priceless. Not to be overlooked is the incredibly hot Cathy Moriarty who, not to take away from her own formidable comedic prowess, was quite the piece of ass (she was also stunning in "Raging Bull"). This is by no means a perfect film, and it does slow in spots, but it is by no means the disaster many make it out to be. See for yourself... love it or hate it, at least admire it for trying to be different. Funny stuff!

Sketch shows are a dime a dozen, so, in order to stand out, one needs to come up with a distinctive hook (either that, or be REALLY funny). Doing a comedy show about music and the music biz is a very novel concept, but this show does not do it justice. Some of the performers are talented and have done good work in the past (Jerry Minor on "Mr. Show" and Nancy Walls on "Saturday Night Live," for instance), but the writing stinks. Unfortunately, it seems that the main creative forces on the show are alumni (like Michael Showalter & David Wain) from MTV's wretched "The State." "The State" is one of the most piss-poor comedy troupes of recent years who became inexplicably popular with the pre-teen and teen crowd, only to self-destruct when they attempted to make the leap to network and everyone came to their senses and realized they were awful. Sadly, members of the State have inflicted other atrocities on the public with the unfunny "Viva Variety" on Comedy Central and the equally bad "Drop Dead Gorgeous." There are a few laughs here and there, but for the most part, it deserves what it will soon receive... a decent burial. Try to catch reruns of "Mr. Show," "Kids in the Hall," "SNL," "SCTV," "Exit 57," or "Monty Python's Flying Circus"... anything but this.

"Brain Candy" is a great film... it's surpassed all my expectations, and I'm a huge fan of the Kids' TV show. However, many people - including others TV fans - didn't admire the approach the five took to their feature debut. First, it is not an out-and-out "wacky" comedy - the laughs are subtle and steady, relying more on character and atmosphere than punchlines (though there are some classic punchlines). Free of the constraints of TV, the film also indulges in some of the darkest humor the Kids ever deployed. All five turn in great performances, though David Foley, while appearing throughout, has a little less to do than the others (punishment for not contributing to the screenplay in lieu of work on "NewsRadio"... perhaps his cut scenes and characters will make it to a future "Deluxe Video" or DVD version). Plus, it is very brave for them to write a comedy which did not rely on using all their old, well-known TV characters... a lesson "Saturday Night Live" could stand to learn. As a side note, Mark McKinney's portrayl of pharmaceutical magnate Don Roritor is a not-at-all-disguised lampoon of "SNL" producer Lorne Michaels. A great, sadly underappreciated gem of a film. A must for those with a taste for bizarre humor!

Well, folks, this is the final nail in the coffin. This film marks the final collaboration between the World's Greatest Comedy Team and MGM studios - and it's a pretty sad epitaph. It's not the Marxes' fault - 'twas MGM that slew the boys (they also successfully neutered Laurel & Hardy, the b*******!). They relegated one writer to this and their two previous films, rather than a team of scribes and refused to let them try their material out live. Plus, it's clear the studio really didn't have a firm grasp on their characters: in this film, "At the Circus," and "Go West," they allow Groucho, Harpo, and Chico to become victimized. This would be unheard of during the Paramount years. Even when misfortune falls on the three in "A Night at the Opera" and "A Day At the Races," they come back even stronger, making their foes wish they'd never been born. The Marx Brothers aren't supposed to take s**t from anybody! Well, there's still a few good moments (the opening sequence of Groucho and Harpo trying to impress Margaret Dumont in their run-down detective office) but many of the scenes are pale retreads of great bits from earlier films (plus, it has the most repellent musical number ever featured in a Marx movie - "The Tenement Symphony"... yow! What a big, brown floater that is!). But, hey, even marginal Marx Brothers is better than most anything else I can imagine. If you've never experienced the Fab Four-then-Three before, don't start here - try "Duck Soup," "Horse Feathers," or "Monkey Business."

"The Cocoanuts" is the very first film the Marx Brothers did and is essentially a filmed recording of their Broadway triumph. Talkies were still in their infancy, and the technical aspects of this flick prove it! The camera can barely keep up with the boys as they leap around. But don't let the staginess and crummy musical interludes and subplots distract you... this film has some of the great moments in Marx comedy. Chico is especially aggressive with his lines (he just annoys the hell out of Groucho, foiling his plan to rig an auction with his denseness) and Harpo (with his original red wig, which films dark brown) has never been better, destroying the hotel lobby by eating buttons off bellboy's uniforms and swilling ink. Groucho has some of his most potent insults. Zeppo, surprisingly, has even less to do here than in subsequent outings. This film is hilarious and head-and-shoulders above their later MGM films like "Go West" and "At the Circus." Funny, funny, funny!

This little-known film is actually an invaluable slice of classic comedy from one of the more influential comedy troupes of recent times, the Committee. Founded by a handful of ex-Second City writer/director/actors in San Francisco in the '60s, it was a very risk-taking, political comedy group. They were definitely the hippest comedy theatre on the West Coast, attracting such future stars as Richard Dreyfuss and Rob Reiner, as teens, to their shows. The more famous alumni include Peter Bonerz (from "The Bob Newhart Show," now a busy TV director of such shows as "Friends"), Howard Hesseman (Dr. Johnny Fever from "WKRP In Cincinatti," "Head of the Class," "Soap"), Carl Gottlieb (who wrote "Jaws" and co-wrote and appeared in "The Jerk"), Avery Schreiber (the comedy team "Burns & Schreiber," "My Mother the Car"), Garry Goodrow ("Bob & Carol & Ted & Alice," "National Lampoon's Lemmings," "The National Lampoon Radio Hour"), Larry Hankin (the Trucker in "The Sure Thing," a grumpy neighbor on "Friends"), John Brent ("Catch 22," "Bob & Carol & Ted & Alice"), and improv guru Del Close (who taught John Belushi, Chris Farley, & others at Improv Olympic & Second City). The troupe also commonly appeared on the famed "Smothers Brothers Comedy Hour" and had parts in the cult classic "Billy Jack." This film is a collection of classic skits. Some are a bit dated (draft-dodging the Viet Nam War, anyone? Pot smoking cops, anyone?), but it is still very funny and historically valuable. Plus, Cheech & Chong apparently stole much of the Committee's then-outrageous drug humor to form the basis of their act! Great '60s laughs!

This was a made-for-cable (Showtime) comedy special starring John Candy and Eugene Levy's "SCTV Network" characters, polka stars Yosh and Stan Shmenge.

The film traces their rise to prominence from their childhood in native Leutonia to their final comeback concert. Along the way, we're treated to hilarious archival footage and interviews with those who worked with them and loved them, played by other "SCTV" luminaries like Rick Moranis, Robin Duke, and Catherine O'Hara. Later released on video. It's an excellent comedy special... a must for anyone who loved Candy and "SCTV!"

Despite the presence of possibly the (collectively) funniest cast in the history of film, "Club Paradise" is only sporadically amusing. The weakness lies in the story (or lack thereof). The most effective moments are set pieces which have little to do with the main story, but are hilarious little character moments. Robin Williams heads a cast which includes Peter O'Toole and Jimmy Cliff. Second City and SCTV vet Harold Ramis directs a script by he and fellow Second City & SNL alum Brian Doyle-Murray (who also plays one of the villains of the piece), and fills it with a ton of other Second City vets including Joe Flaherty, Steven Kampmann, Robin Duke, Mary Gross, Eugene Levy, Andrea Martin, and Rick Moranis. Great reggae soundtrack, though!

This show ran for a few years on HBO and later went into syndication. Hosted by the great comedian John Byner (who was very prominent in the late '70s & early '80s - notably as "Detective Donoghue" on "Soap" - but rather forgotten today), it was most notable for two things: it was the first sketch comedy show to regularly feature nudity (busty topless women often figured as punch lines in racy blackouts - this was cable, after all); and, it was where gifted comic writer Bob Einstein (brother of Albert Brooks) created his popular character "Super Dave Osbourne," the daredevil with extremely bad luck. Indeed, Super Dave became a minor cult phenomena in the '80s, the character's existence extending even after "Bizarre" bit the dust (much as Cassandra Peterson's "Elvira, Mistress of the Dark" continued to flourish after "Movie Macabre" was cancelled). It was a very funny show which will probably never see the light of day again, but, if it pops up in syndication (with the nudity sliced out, of course), check it out - it's funny without bare breasts!

"Kiss Me, Stupid" has unfairly been either maligned or totally forgotten. It's a shame because it's a pretty good little comedy. While certainly not on the level of "classic" Wilder films like "The Fortune Cookie," "The Big Carnival," or "Some Like It Hot," it has a dirty little charm all it's own. Yes, it is a slightly smutty little comedy (in ideals, not action), but funny nonetheless. Billy Wilder simply can not make a bad film. Dean Martin bravely plays an exaggerated character of himself (how many stars today lampoon themselves?), Kim Novak is drop-dead gorgeous as well as being amusing, and Ray Walston is a master "straight man." Also of note are a hilarious Cliff Osmond, a Wilder rep player of sorts, as Walston's songwriting partner. A couple of huge belly laughs and far better than many would have you believe.

Amongst the many sketch comedy shows of recent years, "In Living Color" stands out as one of the best. In it's first three seasons, it was unbeatable, featuring comics and actors who would go on to distinguish themselves in film and other TV (James Carrey, Damon Wayans, David Alan Grier, Keenan Ivory Wayans). However, after Damon's departure, the show took a pretty swift nose-dive (though Damon was by no means the only reason to tune in). Interestingly, Carrey stayed on the show through it's entire run, even in it's awful final season. There was nothing revolutionary about the show's format, it was just damn funny and extremely well-cast (Kelly Coffield being excellent, as well; the weakest member being Kim Wayans). Along with the recent seasons of "Saturday Night Live," "Mr. Show," "Exit 57," and "The Kids in the Hall," "In Living Color" will stand the test of time for all comedy lovers.

This is a twisted, very funny satire on After-School Specials brought to you by a bunch of Second City vets: Amy Sedaris, Stephen Colbert, Mitch Rouse, Paul Dinello, and Greg Hollimon. As a result of the Second City connection, many episodes feature other more famous alumni like Richard Kind ("Mad About You," "Spin City") and Tim Meadows ("Saturday Night Live"). Sedaris, Colbert, Dinello, and Rouse (along w/ Jodi Lennon) had previously created the short-lived, underrated, Cable Ace Award winning "Exit 57" for Comedy Central, which was equally brilliant. This show is intelligent yet crass and, refreshingly, without a laugh track. Let's hope it lasts for several more seasons.

This Comedy Central show was unfortunately short-lived (two seasons), despite winning a Cable Ace Award. It was a pretty straightforward sketch show brought to you by a bunch of Second City vets - Stephen Colbert, Paul Dinello, Mitch Rouse, and Amy Sedaris (and Jodi Lennon from Chicago's Annoyance Theatre) - who went on to create and star in Comedy Central's "Strangers With Candy." It was also brilliant. Now that "Strangers" is a success and Stephen Colbert is high-profile on "The Daily Show," let's hope this show is brought back for reruns... even though it probably will never be seen again. Too bad, because it was sure a thousand times better than MTV's "The State," Comedy Central's "The Vacant Lot," or Fox's "Mad TV." Smart, side-splitting comedy!

Though it's not as notorious as its predecessor, "Pink Flamingos," "Female Trouble" is head and shoulders above that film. Like his other early shockers, it has to be seen to be believed. And, rest assured, when you do see it, if you have an especially twisted sense of humor, you'll laugh yourself hoarse. Divine gives the performance of a his/her career playing a teen delinquent turned serial killer. This film treads the same ground as the much tamer and much less funny "Serial Mom." A great introduction to Waters for the uninitiated.

"Mr. Show With Bob and David" is so incredibly funny, you might just wet yourself from laughing so hard. There is no other criticism to offer except that it is consistently hilarious. They certainly cross over the line of good taste often, but for those with an appetite for edgy humor, there is no equal. Bob Odenkirk and David Cross were originally writers and performers for the short-lived "Ben Stiller Show." Bob also wrote for "Saturday Night Live." Along with "Kids In the Hall," this is by far the best sketch comedy program in the past ten years. It puts "SNL," "Mad TV," and the rest to shame.