Christopher Guest’s latest is worse than just a rehash of “Best in Show”
Christopher Guest has been making the same movie for decades. They’re each a mockumentary drawing from the same cast of goofy looking funny people and they parody a subsection of American culture with a combination of snobbery and absurd non sequitors. And for the most part they’re all incredible.
So why does “Mascots,” Guest’s latest as an exclusive for Netflix, fail so poorly? That it’s almost a complete rehash of “Best in Show” doesn’t tell the whole story. In fact after so many ill-conceived performances of obscure farm animals dancing, it’s barely a movie.
“Mascots” starts exactly as “Best in Show,” with a misdirection of a dramatic scene to an unexpected punchline. A man awaits his X-Ray results from a doctor and receives some good news, only for the camera to pull back and reveal that he’s currently sitting in the examining room in a big red plush costume. He and his wife (Zach Woods and Sarah Baker) have an uncomfortable marriage working as a pair of mascots for a minor league baseball team and are about to head out on the road for an annual mascots competition. Continue reading “Mascots”
“Louie” and “So Did the Fat Lady” gives lesser seen individuals a voice and is a character study rather than a plea.
TV, its been said, is in a golden age. There are great shows and great criticism surrounding it. But every once and a while a single episode of a single show makes such noise that every Tom, Dick and Harry comes out of the woodwork to write a think piece about it.
Two years ago “Girls” stoked controversy with a polarizing episode in which Hannah enters into something of a fantasy weekend with a hot, wealthy guy played by Patrick Wilson. More recently, “Game of Thrones” stirred questions of whether or not a character was raped.
And in each case the headlines and articles are as contrarian, attention grabbing, thought provoking (and hopefully as intelligent) as the episode on which it is based.
This week, “Louie,” one of my favorite shows on television, hit a homerun with an episode that subverted tropes, pointed a finger at society and made Louis C.K., the show’s brilliant auteur behind so many of its elements, into a character we truly pity rather than laugh at.
“Louie” has done this before. Back in Season 2 Louie learned that an old friend was going to perform a last night of standup and then commit suicide, and whether Louie or his friend has the better case for living or dying is left somewhat up for grabs. In Season 3, Louie connects with a Latin American lifeguard in Miami in a relationship that seems more than platonic. These episodes were clear in their ideas, and they were celebrated because they provided us another point of view. C.K. forced us to think about how media and how society depicted ideas like homosexuality, masculinity, suicide and in other episodes religion, relationships and even the campaign in Afghanistan.
Anyone who knows C.K.’s comedy knows he’s actually quite the feminist, and this week on an episode called “So Did the Fat Lady,” he tackled a subject and a fear that for reasons he lays bare throughout the episode, feel close to home: dating as an overweight woman and the perception we carry about them.
The episode involves a chubby waitress named Vanessa (played by a now breakout performer Sarah Baker) who comes on strong and asks Louie out after he performs. She’s funny, charming and clearly into him, all of which offset the fact that Louie might be a little uncomfortable having a woman he’s just met be so up front. You constantly beg for him to say yes and just see what happens, but he’s got pressures in the form of Jim Norton lurking in the background saying “Yuck” as she walks away, Louie continuing to approach the comedy club’s other waitresses like “Sunshine” and his own weight being rebuked when he’s out with his brother on a “Bang Bang,” in which he eats two huge meals of different cuisines back to back.
But the episode’s most affecting, and polarizing, moment comes in a monologue by Vanessa when they finally do go on a coffee date.
Christopher Guest has been making the same movie for decades. They’re each a mockumentary drawing from the same cast of goofy looking funny people and they parody a subsection of American culture with a combination of snobbery and absurd non sequitors. And for the most part they’re all incredible.