Review: "The Evil Dead" Still Givin' Head to Horror Fans (Happy B'day, Sam Raimi)

TRASH IN MY EYE No. 125 (of 2005) by Leroy Douresseaux

The Evil Dead (1981)
OPENING DATE: January 1, 1983
Running time: 85 minutes (1 hour, 25 minutes)
MPAA – NC-17 for substantial graphic horror violence and gore (1994 theatrical release)
WRITER/DIRECTOR: Sam Raimi
PRODUCER: Robert G. Tapert
CINEMATOGRAPHER: Tim Philo
EDITOR: Edna Ruth Paul

HORROR with elements of comedy

Starring: Bruce Campbell, Ellen Sandweiss, Hal Delrich, Betsy Baker, and Sarah York

Ash (Bruce Campbell) and his four friends are college students on vacation, and their destination is a cabin (an actual abandoned cabin that director Sam Raimi reportedly later burned to the ground) remotely located in the Tennessee woods. What they don’t know is that those very same woods are full of slumbering demonic spirits that are ever-present and ever listening. They lie in wait for the recitation of an ancient incantation that will allow them to possess the living. The student quintet finds a reel-to-reel recording of that same incantation in the cabin’s cellar, and they unwittingly play the recording. One by one, Ash’s four friends succumb to these merciless spirits, leaving him alone in a struggle to save his body from possession and becoming one of the evil dead.

Long before they produced the “Hercules” and “Xena: Warrior Princess” TV shows, Sam Raimi wrote and directed and Robert Tapert produced one of the most shockingly original horror films of the last quarter of 20th century, The Evil Dead. If horror movies can be funny, then no truly scary movie was as funny as The Evil Dead. The film’s primary influences were obvious (writer H.P. Lovecraft and filmmaker George A. Romero), but Raimi’s script created a bastard child of Lovecraft and Romero that wouldn’t submit to being properly reared. It’s insane. It’s gory. It’s frickin’ hilarious.

Using the few resources he had, Raimi combined stop-motion photography, homemade gory effects, and cheap, but frightening monster makeup. Perhaps the element the best served The Evil Dead was the Raimi’s penchant for using an active camera. He mounted a camera on a 2x4, and he and actor Bruce Campbell would each hold an end and run headlong through the set. This created Raimi’s signature visual clue that evil moving running through the woods. The camera also tilts, spins, dips, swerves, flips over, and generally does whatever it takes to create the sense that demonic forces are constantly moving and creeping around – always in attack mode.

The performances are great, in particularly Bruce Campbell’s combination of half-madness and half over-acting. However, his cohorts (and the many stand-ins actors or “shemps” as they were called, who played the possessed students in the second half of the film) attack their roles as demonic zombies with relish – all in all creating some of the scariest film creeps in horror movie history. No one can be a true fan of horror films without having seen The Evil Dead, regardless if in the end he or she didn’t like it. The film is simply a viewing requirement for scary flick fans.

8 of 10
A

--------------------

Review: "Red State" a Horror Movie That Does its Own Thing

TRASH IN MY EYE No. 85 (of 2011) by Leroy Douressaux

Red State (2011)
Running time: 88 minutes (1 hour, 28 minutes)
MPAA – R for strong violence/disturbing content, some sexual content including brief nudity, and pervasive language
EDITOR/WRITER/DIRECTOR: Kevin Smith
PRODUCER: Jonathan Gordon
CINEMATOGRAPHER: David Klein

HORROR with elements of action and crime

Starring: Michael Parks, Melissa Leo, John Goodman, Michael Angarano, Kyle Gallner, Nicholas Braun, Stephen Root, Matt Jones, Kerry Bishé, Kevin Alejandro, Ralph Gorman, James Parks, and Kevin Pollack

Red State is a 2011 horror film from director Kevin Smith (Clerks.) Smith chose not to distribute the film in the usual manner through theatres. Instead, he took Red State on tour showing it before small audiences. Perhaps, this unusual manner of exhibiting a film reflects that this is a highly unusual horror movie.

How unusual is it? Well, there are things that happen in this movie that will be familiar to audiences, but not familiar as something seen in the typical horror movie. This will leave you shocked, scratching your head, put-off, and/or entertained. Still, Red State is, for me, one of the most enjoyable film experiences I’ve had this year. I can’t get some of this movie out of my mind.

Three high school boys: Travis (Michael Angarano), Jared (Kyle Gallner), and Billy-Ray (Nicholas Braun) are horny enough to screw anything, so when they get an online offer for some nasty sex, they travel to woodsy Cooper’s Dell and into big trouble. Meanwhile, gay-, liberal-, Jew-, brown people-hating pastor, Abin Cooper (Michael Parks), and the parishioners of his Five Points Trinity Church get ready to rock with Special Agent Joseph Keenan (John Goodman) and the ATF.

Red State has heavy political overtones, heavier religious overtones, and heaviest of all, social and cultural overtones. The film seems to fold elements of the horror movie, Hostel, into the real life events of the Waco siege. This siege occurred in 1993 and was a standoff outside Waco, Texas between the Bureau of Alcohol, Tobacco and Firearms (ATF) and a religious sect, the Branch Davidian, which ended with the death of 76 people. In fact, Abin Cooper and his flock also bear a resemblance to controversial Pastor Fred Phelps and his Westboro Baptist Church. Ultimately, writer/director Kevin Smith seems to be saying “a pox on both your houses” to both the church and state entities in this movie.

Red State is a horror movie because of the suspense, the abduction sequence, and the torture, and also because of the general brutal violence and mayhem. I don’t want to give away too much, but the events of the film and the way the characters act – both onscreen and off – amount to a horror show and would be considered horrifying to most people. What I like most about this film is that it is simply different and is an audacious and bold effort by a filmmaker, Kevin Smith, who has largely underutilized his talents or been underutilized. Red State is an example of untapped potential. Perhaps because of budget restraints, Smith does not take a number of subplots and character relationships far past the point of introducing them. Fully developed, they could have transformed this already good film and made it even better.

Finally, I should mention that there are a number of strong performances in Red State, with Michael Parks, Melissa Leo, and John Goodman as the standouts. Parks and Leo at least deserve consideration for Oscar nominations for their performances here. Leo just won a best supporting actress Oscar (for The Fighter), but her turn here as the religious zealot/nut who is also a fiercely loving mom could wrestle your imagination to the floor and pin it. Parks is a revelation as Abin Cooper, a fanatic with rock-solid, unshakeable faith; Parks makes you believe that this guy is real and for real. There are a number of reasons to see this. Believe it or not, the acting may be the best reason to see Red State.

7 of 10
B+

Saturday, October 22, 2011

--------------------------

Review: 1973 Version of "The Three Musketeers" Retains its Comic Charm

TRASH IN MY EYE No. 84 (of 2011) by Leroy Douresseaux


The Three Musketeers (1973)
U.S. release: 1974
Running time: 107 minutes (1 hour, 47 minutes)
MPAA – PG
DIRECTOR: Richard Lester
WRITER: George MacDonald Fraser (based upon the novel by Alexandre Dumas père)
PRODUCERS: Alexander and Ilya Salkind
CINEMATOGRAPHER: David Watkin (D.o.P.)
EDITOR: John Victor Smith
COMPOSER: Michel Legrand
BAFTA nominee

COMEDY/HISTORICAL

Starring: Michael York, Oliver Reed, Richard Chamberlain, Frank Finlay, Jean-Pierre Cassel, Geraldine Chaplin, Charlton Heston, Faye Dunaway, Christopher Lee, Simon Ward, Raquel Welch, Spike Milligan, and Roy Kinnear

The Three Musketeers is a 1973 swashbuckling comedy film from director Richard Lester (A Hard Day’s Night). This film is based upon Alexandre Dumas père’s 1844 novel, also entitled The Three Musketeers. This is also the first of a two-part film series, the other being The Four Musketeers (1974).

The film opens on young d’Artagnan (Michael York), a country bumpkin trained in the art of the sword by his father. D’Artagnan arrives in Paris with dreams of becoming a king’s musketeer – hopefully with the help of an old acquaintance of his father’s – but he is turned away. He meets and quarrels with three men: Athos (Oliver Reed), Porthos (Frank Finlay), and Aramis (Richard Chamberlain), each of whom challenges him to a duel. After discovering that the three men are real musketeers, d’Artagnan joins them in a brawl with the guards of Count Richelieu (Charlton Heston). Appreciative of d’Artagnan’s efforts, the three musketeers take him on as a kind of musketeer-in-training.

Meanwhile, the Duke of Buckingham (Simon Ward) has slipped into France to see French Queen, Anne of Austria (Geraldine Chaplin), with whom he is having an affair. Richelieu conspires to use the affair to bring down the Queen so that he can have more power over the King, Louis XIII (Jean-Pierre Cassel). Richelieu employs his spy and secret agent, Milady de Winter (Faye Dunaway), to help him.

D’Artagnan has an affair with Constance Bonacieux (Raquel Welch), a married woman who is an aid to the Queen. At her insistence, d’Artagnan decides to help the Queen. Soon the young musketeer wannabe joins Athos, Porthos, and Aramis, as they also seek to oppose Cardinal Richelieu at every turn.

It has been so many years since I read The Three Musketeers that I don’t remember much about it, although the film apparently adheres closely to the novel. I do remember this movie, though. I watched it and its sequel several times when I was a child and I loved it – love is the right word to use. Before I watched it again recently, I wondered if I’d still like it. It turned out that I still love this movie.

Lester and screenwriter George MacDonald Fraser inject a lot of humor into the story. In fact, the film emphasizes comedy over character, although the script gives each character a personality that is important in the context of the role he or she plays. The cast, which is composed of mostly veteran and talented actors and movie stars, makes the most of the material. For instance, Charlton Heston’s stout turn as Richelieu allows the character to be a villain, but an impeccable sense of timing also allows Heston to make the character menacing or mischievously funny, as necessary.

The Three Musketeers also tweaks the conventions of the swashbuckling movies of the 1940s and 50s. The film does the kind of lavish sets and art direction and sumptuous costumes that would make a 1940s MGM period film proud. However, director of photography David Watkins shot this movie with an eye for period detail, so he captures a squalid, more impoverished, and earthier reality as equally as he captures splendor. This makes the movie loose and energetic, rather than stiff and formal.

The Three Musketeers’ fight scenes are not fancy fencing duels like something out of an Errol Flynn movie. Rather, these fights are staged as brawls with the combatants using fists and knees as much as swords. In fact, furniture, food, sticks, and any objects at hand (even wet laundry) sometimes assist or replace swordplay.

When I first saw The Three Musketeers, I was too young to understand the bawdy humor and double entendres. Now, I see how Michael York strikes the perfect tone as d’Artagnan and also how the strikingly handsome Oliver Reed made the most of what is basically a supporting role. Raquel Welch as Constance and Faye Dunaway as Lady de Winter are devastating scene stealers; there could have been a movie built around just the two of them. The Three Musketeers is a childhood favorite that doesn’t disappoint the adult me.

8 of 10
A

NOTES:
1975 BAFTA Awards: 5 nominations: “Anthony Asquith Award for Film Music” (Michel Legrand), “Best Art Direction” (Brian Eatwell), “Best Cinematography” (David Watkin), “Best Costume Design” (Yvonne Blake), and “Best Film Editing” (John Victor-Smith)

1975 Golden Globes: 1 win: “Best Motion Picture Actress - Musical/Comedy” (Raquel Welch); 1 nomination: “Best Motion Picture - Musical/Comedy”

Friday, October 21, 2011

"Rise of the Planet of the Apes" Arrives on DVD in December

Bring Caesar Home on Blu-Ray - RISE OF THE PLANET OF THE APES

Evolution Becomes Revolution in the Critically-Acclaimed Over $432 Million Worldwide Box Office Smash Arriving Globally on Blu-ray, DVD and Digital Download in December

LOS ANGELES--(BUSINESS WIRE)--A single act of both compassion and arrogance leads to a battle unlike any other when RISE OF THE PLANET OF THE APES makes its worldwide debut on Blu-ray, DVD and digital download on December 13th in North America and starting December 7th Internationally. From the Oscar-winning® visual effects team that brought to life the worlds of Avatar and Lord of the Rings comes revolutionary new ground - a CGI ape that delivers a dramatic performance of unprecedented emotion and intelligence, and epic battles on which rest the upended destinies of man and primate.

James Franco (127 Hours) stars as Will Rodman, a neuroscientist living in San Francisco trying to develop a cure for Alzheimer’s disease by testing on chimpanzees, giving them a human level of intelligence. After a test subject’s baby, Caesar, is orphaned, Will decides to raise him at home on his own with his Alzheimer-stricken father (John Lithgow; “Dexter”). What begins simply as a continuation of his experiment quickly turns into a problem for Will, as Caesar is taken away from him and forced to live in a primate facility. As Caesar’s intelligence continues to grow, he begins to stake his claim as the leader of his new primate counterparts, which will ultimately lead to the RISE OF THE PLANET OF THE APES.

Directed by Rupert Wyatt (The Escapist), this special effects blockbuster features fantastic supporting performances from Freida Pinto (Slumdog Millionaire), Brian Cox (Red), Tom Felton (Harry Potter films) and Andy Serkis (The Lord of the Rings Trilogy) in a ground-breaking performance. The RISE OF THE PLANET OF THE APES Blu-ray is loaded with bonus material including deleted scenes, making-of featurettes commentaries and more.

RISE OF THE PLANET OF THE APES Blu-ray + Digital Copy (North America)
Feature Film
Deleted Scenes
Alpha Gets Shot
Will’s Meeting with Lab Assistants
Will Discovers Caesar Has Solved Puzzles
Caesar Plays with Bicycle
Caesar Questions His Identity
Caesar Bites Off Neighbor’s Finger
Will Ignores the Risks of an Airborne Mutated Virus
Rodney Gives Caesar a Cookie
Rocket Gets Hosed by Dodge
Caesar Destroys the Lab and Koba’s Attempted Revenge on Jacobs
Caesar Pushes Helicopter
Koba with Shotgun
Pre-vis for The Future
Capturing Caesar – Script to Screen
Studying the Genius of Andy Serkis
Multi-Angle: Rocket Cookie Scene
A New Generation of Apes
Breaking Motion Capture Boundaries
Breaking New Sound Barriers: The Music and Sound Design of Rise of the Planet of the Apes
Ape Facts
Chimpanzee
Gorilla
Orangutan
Audio Commentary by Director Rupert Wyatt
Audio Commentary by Writers Rick Jaffa and Amanda Silver
Character Concept Art Gallery
Three Theatrical Trailers

Exact product configurations will vary by individual territories


Twentieth Century Fox Home Entertainment
Twentieth Century Fox Home Entertainment, LLC (TCFHE) is a recognized global industry leader and a subsidiary of Twentieth Century Fox Film Corporation, a News Corporation company. Representing 75 years of innovative and award-winning filmmaking from Twentieth Century Fox, TCFHE is the worldwide marketing, sales and distribution company for all Fox film and television programming, acquisitions and original productions on DVD, Blu-ray Disc Digital Copy, Video On Demand and Digital Download. The company also releases all products globally for MGM Home Entertainment. Each year TCFHE introduces hundreds of new and newly enhanced products, which it services to retail outlets from mass merchants and warehouse clubs to specialty stores and e-commerce throughout the world.

Review: A Bag of "Bones" (Happy B'day, Snoop Dogg)

TRASH IN MY EYE No. 151 (of 2003) by Leroy Douresseaux

Bones (2001)
Running time: 96 minutes (1 hour, 36 minutes)
MPAA – R for violence/gore, language, sexuality and drugs
DIRECTOR: Ernest Dickerson
WRITERS: Adam Simon and Tim Metcalfe
PRODUCERS: Rupert Harvey, Peter Heller, and Lloyd Segan
CINEMATOGRAPHER: Flavio Labiano (D.o.P.)
EDITORS: Michael N. Knue and Stephen Lovejoy
COMPOSER: Elia Cmiral
Black Reel Awards nominee

HORROR with elements of fantasy

Starring: Snoop Dogg, Pam Grier, Michael T. Weiss, Clifton Powell, Ricky Harris, Bianca Lawson, and Khalil Kain

I held out no hope for rapper Snoop Dogg’s horror film vehicle, Bones. It was released in 2001, but I didn’t see it until two years later. When I finally saw it, I found Bones surprisingly entertaining, if a bit hokey and poorly written.

I also learned that Ernest Dickerson directed the film. Dickerson came to prominence in the late 80’s and 90’s as Spike Lee’s cinematographer on Lee’s first five full-length features including Do The Right Thing and Malcolm X. He made his directorial debut with the fairly well received urban drama Juice, about a group of friends and their trouble with a pistol. Dickerson later showed a deft touch for horror films with the delightful Demon Knight, a film version of the HBO series “Tales from the Crypt.” Sadly, Bones, although mildly entertaining, lacks Demon Knight’s sense of mad glee and hilariously evil hijinx.

Snoop plays Jimmy Bones, a low-key gangster, pimp type, and godfather of an inner city neighborhood in 1979. When he refuses an offer to join the drug trade, the dealers shoot him and force his associates and baby mama to participate in the killing. 22 years later, his angry spirit returns after some suburban kids buy his playa mansion and turn it into a club.

Bones isn’t that bad, but it isn’t too good. It’s lost somewhere in the middle of mediocrity. The characters all have potential, especially in regards to their socioeconomic and ethnic backgrounds, but the filmmakers sacrifice them to violence and trite special effects, many of the effects old when Clive Barker used that kind of SFX in his early Hellraiser films.

Snoop does most of acting with a perpetual scowl etched across his face. Still, he has excellent screen presence, and makes a good bad guy when he’s given (I don’t know, maybe) depth and subtext. It really would have been nice had Dickerson approached this film with the same sense of fun and funny mayhem that made Demon Knight such a charmingly trashy fright flick.

4 of 10
C

NOTES:
2002 Black Reel Awards: 1 nomination: “Theatrical - Best Actress” (Pam Grier)

-----------------

"The Howling Reborn" Now on DVD

A legendary horror franchise that redefined a genre returns to scare a new generation...

ANCHOR BAY FILMS “BAYS” AT THE MOON WITH THE HOWLING REBORN ON BLU-RAY™ AND DVD

A New Moon Rises October 18th

Get ready to run with the pack again, as Anchor Bay Entertainment unleashes The Howling Reborn October 18th on Blu-ray™ and DVD. An all-new, original chapter directed by Joe Nimziki, the much anticipated Anchor Bay Films release stars Lindsey Shaw (“Pretty Little Liars,” “10 Things I Hate About You”), Landon Liboiron (Fox’s upcoming series “Terra Nova,” “Degrassi: The Next Generation”) and Ivana Milicevic (Casino Royale, Vanilla Sky). Described within industry circles as “Twilight with bite,” The Howling Reborn deftly combines romance, action and thrills that will have audiences worldwide embracing their inner lycanthrope! SRP is $26.98 for the DVD, and $29.99 for the Blu-ray™. Pre-book is September 21st.

Anchor Bay SVP of Marketing Jennifer Roberts stated: “We couldn’t be more thrilled with the picture, and are excited to get “The Howling: Reborn” out as quickly as possible for this Halloween. We truly believe this picture will re-launch the franchise and lead to even bigger and better new chapters ahead.”

The creatures for The Howling Reborn were brought to life by 2010 Academy-Award® nominee Adrian Morot (300, Night at the Museum 2), and the score produced by award-winning composer Klaus Badelt (Gladiator, Pirates of the Caribbean).

On the eve of his high school graduation, Will Kidman (Liboiron) finally looks up from his books to catch the eye of the girl he’s longed for the last four years –the mysterious Eliana Wynter (Shaw). He’s always been the shy kid, flying under the radar, but when he discovers a dark secret from his past— that he is heir to a powerful line of werewolves -- he finds he has a choice to make between succumbing to his primal nature, or turning against his own, and maintaining his humanity. In order to fight the destiny of his legacy, and save Eliana – as well as himself – he must battle not only his growing blood lust but an army of fearsome beasts bent on killing him, Eliana...and then, us all.

Bonus features on The Howling Reborn Blu-ray™ and DVD will include filmmakers’ commentary and a behind-the-scenes featurette.

The Howling began enthralling fans more than 30 years ago, with the 1977 publication of Gary Brandner’s best-selling novel and the 1981 film adaptation written by Academy Award® nominated screenwriter John Sayles (Lone Star, The Spiderwick Chronicles) and directed by Joe Dante (Gremlins, InnerSpace). The film’s success ushered in a new era of screen werewolves, as well as the six “Howling” sequels that followed.


About Anchor Bay Films
Anchor Bay Films is unique in that it offers the creative community a fully integrated distribution capability on all platforms and an international solution extending beyond the U.S. Anchor Bay Films is a division of Anchor Bay Entertainment and is on the ground providing quality distribution with operations in the U.S., United Kingdom, Canada and Australia, as well as distribution capabilities in other key territories. The company focuses on a platform release strategy for its films with an eye toward maximizing their potential across all ancillary distribution platforms. The company recently released the critically acclaimed comedy City Island starring Andy Garcia and Solitary Man starring Michael Douglas, Kill the Irishman starring Ray Stevenson, Vincent D’Onofrio, Val Kilmer, Christopher Walken, as well as Sundance Audience Award Winner happythankyoumoreplease starring Josh Radnor, Malin Akerman, Kate Mara, Zoe Kazan and Tony Hale. Upcoming releases include, Meet Monica Velour with Kim Cattrall and Toronto International Film Festival award-winner Beautiful Boy with Maria Bello and Michael Sheen. Anchor Bay Entertainment is a subsidiary of Starz Media, LLC (http://www.starzmedia.com/) which is a controlled subsidiary of Liberty Media Corporation attributed to the Liberty Starz tracking stock group.

Review: "South Park: Bigger, Longer & Uncut" is a Great 1999 Film (Happy B'day, Trey Parker)

TRASH IN MY EYE No. 176 (of 2004) by Leroy Douresseaux

South Park: Bigger, Longer & Uncut (1999) - animated
Running time: 81 minutes (1 hour, 21 minutes)
MPAA – R for pervasive vulgar language and crude sexual humor, and for some violent images
DIRECTOR: Trey Parker
WRITERS: Matt Stone and Trey Parker and Pam Brady (based upon the TV series created by Matt Stone and Trey Parker)
PRODUCERS: Trey Parker and Matt Stone
EDITOR: John Venzon
Academy Award nominee

ANIMATION/COMEDY/MUSICAL/WAR

Starring: (voice) Trey Parker, Matt Stone, Mary Kay Bergman, Isaac Hayes, George Clooney, Brent Spiner, Minnie Driver, Dave Foley, Eric Idle, Nick Rhodes, Stewart Copeland, and Mike Judge

I could list several films that were better than Oscar® winner for “Best Picture” of 1999, American Beauty. One of them is South Park: Bigger, Longer & Uncut, the film version of the hit animated series, “South Park,” on cable television channel, Comedy Central. The film did earn an Oscar® nomination in the category of “Best Music, Original Song,” and it should have won. But where it really counts, the film won – it is as good as the best episodes of the series.

Our heroic quartet: Stan Marsh (Trey Parker), Eric Cartman (Parker), Kyle Broslofski (Matt Stone), and Kenny McCormick (Stone) sneak into a theatre to see the R-rated film of Canadian bad boy duo, Terrance & Phillip, entitled Asses of Fire. The film, a wall-to-wall profanity-laden musical, warps the little boys’ minds, and they begin to freely used the most vulgar language in everyday speech. Kyle’s mother, Sheila Broslofski (Mary Kay Bergman), is horrified, so she leads the other boys’ parents in a massive crusade against Terrance and Phillip.

In true fanatical organized censorship fashion, her coalition against filth goes overboard. The parents pressure the United States government to declare war on Canada (because they generate lots of filth that finds it way to America), and to have Terrance and Phillip publicly executed just before the U.S. military invades Canada. Meanwhile, in Hell, Satan and his homosexual lover, Saddam Hussein (Stone), eagerly await the execution. For when Terrance & Phillip’s blood touches the earth, it will open a portal from Hell to Earth from which Satan and Saddam will launch an invasion.

The quality of the animation (crude and crudely manipulated paper cutout animated figures) and comedy (naughty) of the film is about the same as the TV series, except the hardcore R-rated vulgarity and profanity that would be edited out of even the series makes its way to the film. What the film has that the show doesn’t is a wonderfully satirical and farcical song score. There are certainly better musical and song scores in film history, but none are as ribald, as bold, and as hilarious as these songs.

The most important thing about South Park: Bigger, Longer & Uncut is that it is so subversive. The TV series has always used satire and farce to make political and social commentary. Creators Trey Parker and Matt Stone take their hardest hits at ultra conservative, too liberal, bigoted, and politically correct America. But the part of the U.S. that takes the biggest hit is the dishonesty of adults: lying to children, not explaining to them why they should be protected from certain things, cheating, stealing, and selfishness. Parker and Stone do it while making you laugh so hard at their outrageous sense of humor. I don’t know which is their best talent, humor or commentary; they do both so well that’s it’s unfair to most others who try both.

9 of 10
A+

NOTES:
2000 Academy Awards: 1 nomination: “Best Music, Original Song” (Trey Parker and Marc Shaiman for the song "Blame Canada")

------------------