Guilty pleasure comedy favorites


Tom Jolliffe on the joys of guilty comedy…


In adulthood, there comes a time when you have to stop thinking about the question, ‘Am I still mature?’ Then you sit watching Dumb and Dumber. Jeff Daniels pushes his gut when a laxative is added to it, and you almost empty yourself with a laugh. The answer is inevitably, no. There are a number of comedies with more drama and subtlety. Perhaps more substantiated observations about society may be found to be comparable. Maybe a tragedy comedy like that Sideways (or any Alexander Payne) who can make a point and even time to throw something low on the forehead (Kathy Bates takes off About Schmidt comes to mind). There are great comedies, but usually it’s usually a genre that is critically distorted. Some take a huge cult level that transcends them to a level that everyone needs to see; to think Aircraft. Some reach the level of quoted community fandoms (think Me and me or Iso Lebowski).


Some are just not fun at all, missing every gag, or tiringly hitting you in the face with low laziness, but no charm. There is a group in the middle. Comedies that appeal to a part of ourselves may want to be kept to ourselves or our loved ones. This is a guilty pleasure. You can only withdraw from granting viewing Wedding singer (and indeed one of Adam Sandler ‘s most prestigious works, such as Punch drunk love or Uncut gems), but what about Happy Gilmore? I love it, I’ve always considered it a terribly silly and complete delivery of everything Sandler can do well. It has survived the retrospective microscope of the PC better than many of the justice of its era because it strives for physical comedy and surreal stupidity. I looked at it again last year and still exclaimed happily. My brother caught it recently, and as he told me, amazed, “I look Happy Gilmore and I really laugh … ”It didn’t surprise me. After decades of Sandler movies Adults, Aquarius (which does not mean checking the PC version) and Little Nicky, he was certainly surprised.

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That era itself was key to me. It’s a time when most of my guilty joy comedies exist. In the mid-90s, at school, schools were expected to completely like comedies with farts, unbridled stupidity, brutality, and more. When you’re 14, you find it awful. When you’re going over 30 and the concept of youth disappears behind, and family / responsibility is suddenly shoved on your own shoulders, maybe you shouldn’t keep it funny. Sue me, I’ll do it.


I have a soft spot for all Chris Farley. He was hilarious. He didn’t quite have the stardom that the finer John Candy had before (also helped with great movies like Planes, trains… No guilt at all), but he was called a swelling oafi. He was the charm of the fire and unpredictable. His inspired cameras could have a powerful and memorable effect that served him better (he steals Billy Madison gallop) but I still find Tommy Boy and Beverly Hills Ninja hilarious. They’ll never be anything but a critic of kryptonite, but on Friday night to the audience they inspire. Farley threw himself into every scene (especially the physical episodes) that truly loves me for my generation (and beyond when he is rediscovered). It wasn’t subtle, but sometimes we just want simple humor.


I am also in love Guest House Paradiso, The incarnation of the screen of the work of Rik Mayall and Ade Edmondson, Base. Combining their horrible twins Fawlty towers dynamic, it slandered critics, and certainly lacked some sophistication in their series (and live performances). It had the hallmarks of a tired television to accommodate the film, but is one that I also feel like giving up. It’s raw, perky, and gloomy, but even if there’s a candle in the eye or a bright outburst of green vomiting, I’ll eventually get a burst of laughter. Definitely a guilty pleasure that I can’t even understand why I think it’s fun.


Jim Carrey may well be a poster child of the guilt pleasures of the late 20th century. He has worked several times with the Farrelly brothers, who have a bunch of films that few would like to cancel or hit a record. Dumb and Dumber is still so enjoyable and just so surreal that you can get rid of shocks, etc. It’s also pretty iconic, pushing it to a popular level whose bad sequel has stifled as much as changing attitudes. Me, me and Irene on the other hand, establishes itself strictly in the guilty amusement zone. again Low Hal is dated entirely because it’s not fun enough to get us aside, Me, me and Irene makes good use of Carrey’s physical ability and has a few inspired bucks (supermarket scene, Carrey sucked, etc.). This was not as iconic as Dumb and Dumber or Something about Mary (which goes a long way in Ben Stiller’s pleasant performance and Cameron Diaz’s magnetism), but people still enjoy it, even sometimes with closed fingers.


Another film that never got much love from critics, but I find it happily silly Hot Rod – the story of a man-child striving to be a great cascade cross. Andy Samberg is full of pleasant trick waiting for desperate charm. It’s fun without being noisy, but maybe my guilt is also due to the main attraction of the film. The soundtrack is great, but not least, it includes the entire album, The Final Countdown, made by Swedish hair rockers, Europe. For me, it’s the bonus points that are included in the inclusion of such a cheese rock album (title track aside, including gems like Ninja and Cherokee). Is the film the culprit of pleasure or the record? Probably both, but oh what a joy (The last countdown is currently on my car’s CD player).


So what is my most guilty access? There was just something in MTV comedy, mostly Pauly Shore. They should have been annoying. For many, they were annoying and / or completely wise, but I find them just amusing. Whether it’s terribly bad Bio-Dome, or some of the better works, such as Son in law or Encino Man, I enjoyed the Shore shtick of the era. Plus, I have a nostalgic soft spot for great Yahoo Serious works. To be fair, these works are a little cult, and not always raw or childish. They exist in the propeller universe, a farce with a lot of silly Oz humor. Young Einstein is especially fun where Holtiton Kelly and Mr Accident occurs as rare additions to a very abrupt film CV.

What are your favorite culprits in your enjoyment comedy? Tell us on our social channels @ flickeringmyth …

Tom Jolliffe is an award-winning screenwriter and passionate kinefile. He has several films on DVD / VOD around the world and several releases scheduled for release in 2021/2022, including Renegades (Lee Majors, Danny Trejo, Michael Pare, Tiny Lister, Patsy Kensit, Ian Ogilvy and Billy Murray), Crackdown, When Darkness Falls, and World of War: Attack (Vincent Regan). You can find more information on the best personal site you will ever see …


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