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Top 6 Best Comedy Movies

Posted 2017/12/25 7 0

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Watch Dirty Grandpa 2016

Dirty Grandpa 2016

Duration: 102 Minutes

Quality: HD


IMDb: 6.0

Dirty Grandpa Article 2016

A long time back I had the most peculiar dream. I envisioned that this motion picture,“Dirty Grandpa,” was the talk of the nation. Not because the Robert De Niro/Zac Efron/Aubrey Plaza raunch comedy was particularly good, but because, apparently—I didn’t see any of the movie in my dream, just had conversations with people about it—it didn’t do that thing that studio-produced-raunch comedies do, which is take things so far and no further. No. In my dream, “Dirty Grandpa” was spinning heads because it broached John Waters/Harmony Korine levels of outrageousness. The sex scenes between De Niro and Plaza had a “Last Tango In Paris” level of explicitness, for instance.

Dirty Grandpa Trailer 2016

Now you just have to take my word for it that I had this dream, but honestly, I did. The question is WHY did I have this dream. As the author of a book on De Niro, I’m frequently (okay, not that frequently, but more often than would be the case for a guy who hadn’t written a book on De Niro) asked what I make of his various career moves. So maybe the dream speaks to my critical desire to see De Niro go back to surprising his audiences with audacious performances. Or maybe I’m just a perv who wants to see Aubrey Plaza naked. I don’t know. The weird thing is, although the non-oneiric “Dirty Grandpa” does not feature Aubrey Plaza naked (although she gets closer than one might have expected), the movie is, as in my dream, a genuine envelope-pusher. Its crudity is relentless. The subjects of its indifferently crafted and callously executed jokes include roofie-ing, crack smoking, child molestation, jail house rape, graphic depictions of penises in the shape of a swastika being displayed to a rabbi, and more. The sort of thing you might expect in a John Waters or Harmony Korine film.

Only in a John Waters or Harmony Korine film the jokes might be funny, or pointed. Here they are not. Early in the film’s road trip, De Niro’s horny patriarch is trying to charm some ladies on a golf course; on being stymied by uptight soon-to-be-married lawyer grandson Efron, he responds with a panoply of puns based on the term, if you’ll excuse it, “cock blocker.” “Who does your taxes, H. and R. Cockblock?” De Niro asks Efron. He continues by making a salacious play on the name “Jack Nicklaus,” putting a D where the N customarily is. Because they’re at a golf course, get it? That De Niro delivers these moronic japes with gusto, even vehemence, does not improve them.

The fact that the relentless barrage of this humor is occasionally punctuated with pointedly insincere homilies wherein “dirty” grandpa De Niro tries to encourage sellout grandson Efron to Follow His Dreams just makes the whole thing that more depressing. The other way the film pushes the envelope is through sheer, contemptuous incoherence. De Niro’s character, Dick, is initially so homophobic and racist that one can actually imagine that he’s a senior citizen Travis Bickle; having been domesticated for forty or so years, now on the death of his wife, he can let loose again, spewing epithets and rancor all the way from Georgia to Daytona Beach. Once Dick and Efron’s Jason run into Jason’s former college pal Shadia (Zoey Deutch, who here seems to be filling the function of “an Isla Fisher type”) and her oversexed pal Lenore (Plaza) and their gay African-American pal Bradley (Jeffrey Bower-Champion), you can take a wild guess who ends up the brunt of Dick’s dickish one-liners. Once the movie backs into a weird corner that skirts the hem of the infamous “mind if we dance with your dates?” scene in “Animal House,” De Niro’s character suddenly turns righteous in the ways of sexual tolerance even as he’s humiliating a rougher black character. The movie’s editing ADD is so severe that the aforementioned roofie-ing gag (actually a variation thereof, with Xanax substituting for Rohypnol, if anybody’s counting) leads into a chugging-contest scene so incoherently edited that the joke, such as it is, has no payoff. As the wisecracking robots on “Mystery Science Theater 3000” used to say, “They just didn’t care.”

The movie is so incredibly consistent in failing to land an honest laugh that about an hour into it, its not being funny becomes laughable: I began giggling with a kind of metaphysical embarrassment for everyone involved in the enterprise, and, eventually, for all of humanity itself. I see, scrawled in my notebook, the words “What is happening to our world?” Weirdly enough, the final scene with Plaza and De Niro in the latter character’s apartment does contain some rather good one-liners, which I have to assume were concocted by Plaza in an improve situation, as their verbal wit is so manifestly superior to any other spoken joke in the movie that the contrast is, again, embarrassing.

The actor Bela Lugosi appeared in some landmark, perhaps even great, films at the beginning of his Hollywood career in the 1930s. They include Browning’s “Dracula” and Ulmer’s “The Black Cat.” Lugosi’s final film was 1959’s “Plan 9 From Outer Space,” frequently cited as the worst film ever made. The cinematic landmarks of De Niro’s career include films such as Coppola’s “The Godfather, Part II” and Scorsese’s “Raging Bull.” He has been featured in a good number of very bad films in the years since. But this? This might just be his own “Plan 9.”

Watch Dirty Grandpa Here

Mike and Dave Need Wedding Dates

Mike and Dave Need Wedding Dates 2016

Duration: 98 Minutes

Quality: HD


IMDb: 6.0

Mike and Dave Need Wedding Dates Article 2016

Two or three weeks prior I had the most unusual dream. I imagined that this movie,”Mike and Dave Need Wedding Dates” mistakes redundant tactlessness for brave amusingness. It hammers us over the head with a similar modest bunch of jokes with expectations of beating us into accommodation. Also, it strains the screen interest of a gathering of performing artists who ordinarily are colossally affable.

Mike and Dave Need Wedding Dates Trailer 2016

The movie denotes the element coordinating presentation of Jake Szymanski, who already coordinated a few portions for “Saturday Night Live” and online shorts for Funny or Die. He demonstrates some solid impulses toward the begin as he presents these characters and sets up this world, yet experiences difficulty keeping up the same uproarious vitality level for the span of the film. The content from Andrew Jay Cohen and Brendan O’Brien, co-journalists of the likewise down to business “Neighbors” films, is inexactly in view of a progression of genuine occasions, which additionally propelled a book. In any case, next to no here looks like anybody or anything you’d perceive, all things considered.

Siblings Mike (Adam Devine) and Dave Stangle (Zac Efron) truly took out a Craigslist advertisement to discover dates to their cousin’s wedding, and that promotion truly went viral. Here, the cousin has been changed to a more youthful sister, Jeanie (Sugar Lyn Beard), and the wedding has been moved to Hawaii (to up the levels of desire, apparently). In an all around arranged opening succession, which contrasts what Mike and Dave review as delightful family holding time with the heartbreaking reality, we realize why everybody needs these folks to convey decent young ladies to the wedding. They’re a prepare wreck, but a well meaning one.

They meet their matches in trashy closest companions Tatiana (Aubrey Plaza) and Alice (Anna Kendrick), who are the same amount of a chaotic situation. Tatiana is the wild-peered toward, junk talking alpha of the twosome, while Alice is the sweetly energetic yet careless sidekick as yet reeling from being abandoned at the sacrificial stone. (We’re compelled to watch alongside Alice as she torments herself with various viewings of the iPhone video of that appalling minute; the monotonous idea of this early, unfunny stifler is a harbinger of things to come.)

Tatiana and Alice see Mike and Dave examining their hunt on TV and put down the bong sufficiently long to bring forth an arrangement to meet them “inadvertently” outside a Manhattan bar. This expects them to tidy up and come up with healthy back stories for themselves, which amusingly charges Alice’s capacity to tell persuading lies. There is unquestionably a charm to seeing Kendrick play against type as an awful young lady. She was kind of crawling toward that path—and far from her demure persona—with the first “Pitch Perfect” film as a calm, hostile to social DJ. It may not be the best fit for her ability, however it’s as yet enjoyable to see her extend.

The scenes in which she and Plaza dubiously attempt to make a big deal about their lives as well as lounge around on the love seat, planning to persuade themselves and each other of how great they are, are the film’s features. Tatiana and Alice are much more convincing than Mike and Dave as they co-pick and overturn brother culture. Square is diversion for anything, and these two agreeable on-screen characters have a simple, crazy science with each other.

At that point they meet Mike and Dave—and in principle, flashes should fly, in light of the fact that Tatiana and Alice are their female counterparts. In any case, “Mike and Dave Need Wedding Dates” is never about as subversive as it supposes it seems to be, and by the end, everybody tones it down and figures out how to be a developed individual. (It’s not precisely a spoiler; these hard-R comedies have a tendency to go delicate and gooey by the conclusion.) We should discover these folks adorable yet they’re in reality simply youthful imbeciles, despite the fact that Efron andDevine each have been reliably charming before (with better written work). Devine, the “Obsessive workers” co-star, works his quick talking, hyper shtick, and Efron keeps showing his ability to toy with his lovely kid persona the more remote he strays from the Disney Channel.

Regardless of their endeavors, “Mike and Dave Need Wedding Dates” offers raunch without any smarts. It’s not content just to show progressively stunning sight chokes, for example, the completely improper back rub the lady of the hour gets at the resort’s spa from the stripped and agile Kumail Nanjiani, a one-note bit that gets dragged out ceaselessly. There’s additionally the minute when Tatiana reluctantly joys the siblings’ promiscuous cousin (Alice Wetterlund) in the steam room in return for backstage goes to Rihanna (whom the film over and over alludes to by her moniker, Ri, which is simply super tense). And after that there’s the naked, medicate initiated episode including the stallions at the resort’s stables.

Demonstrating these occasions once isn’t sufficient, however. The motion picture continues alluding back to them, again and again, as though reminding us about jokes we just observed will make them interesting once more (on the off chance that they ever were in any case). So also, only making references to popular culture wonders does not consider humor, for example, an expanded (and disastrous) praise to “Jurassic Park,” or the affirmation of this current motion picture’s obligation to the prevalent “Wedding Crashers.”

And afterward there are the outtakes. Great ruler, the outtakes. Don’t we as a whole transparent these at this point? Certainly, it’s a shrewd method to keep us in our seats amid the credits as opposed to heading out to the lavatory, yet they are never clever. Here, this is particularly valid. Hearing group individuals chortling out of sight doesn’t consequently make these minutes entertaining.

Watch Mike and Dave Need Wedding Dates 2016 Here

Watch grown up 2010

Grown Ups 2010

Duration: 102 Minutes

Quality: HD


IMDb: 6.0

Grown Ups Article 2010

“Grown Ups” is a pleasant, genial, good-hearted, sometimes icky comedy that’s like spending a weekend with well-meaning people you don’t want to see again any time real soon. They’re the kind of people where, in the car driving home, you ask, “What was that all about?” Try to imagine the Three Stooges slapping each other’s faces with dehydrated reconstituted bananas. No, really.

Grown Up Trailer 2010

The setup for the story: Five kids were on a basketball team in middle school. Their beloved old coach has died. To mourn him they return to the lakeside cabin where they celebrated their victory all those years ago. Wouldn’t you know, the five kids on the team they beat are at the same lake for the same weekend.

The five buddies are played by Adam Sandler, Rob Schneider, Kevin James, Chris Rock and David Spade. Sandler’s wife is a famous designer (Salma Hayek). Schneider’s much older wife is Joyce Van Patten. Rock’s pregnant wife is Maya Rudolph. His Madea-style mother is Ebony Jo-Ann. James’ wife is Maria Bello, who is still breast-feeding their 4-year-old at every opportunity. Spade is unmarried, which given the size of the cast is just as well, since the characters have five children (I think), and there are also roles for Steve Buscemi as a guy who ends up in a body cast, Di Quon as Sandler’s Asian nanny, and of course Schneider’s three daughters from two previous marriages, two of them towering models, the third short and stout. There are so many characters in the movie that some scenes look like everyone lined up for a group shot.

The physical humor is not sophisticated. One character ends up with her face in a cake, and another has his face pushed twice into doggy-doo. The nursing mother squirts milk here and there, and her son is warned that if he doesn’t wean himself soon he’ll have a “got milk?” mustache with real hair. The gang all goes to a water park. There’s a basketball game to settle old scores. And so on.

What’s strange is how laidback it all is. The five old pals at times sound positively like they’re idly remembering old times. Lots of stuff seems intended only to be pleasant. When it looks like Sandler and his wife will be given the bedroom with the water mattress, for example, he says, naw, let the kids all share it. Does that sound like the setup for a joke? There isn’t one.

Joyce Van Patten (who is 75) and Rob Schneider (who is 46) play a married couple, which generates some laughs, mostly on the nice side, and no vulgarities. See, they really like each other. And during the obligatory scene where every character makes a confession or relates one of life’s lessons, she makes a warm and genuine speech that is well-delivered, but hardly seems to belong in this movie.
The comedy talent here is seen but not much heard, given the human traffic jam of the cast. Chris Rock and Kevin James are underutilized. Mario Bello is reduced to breast-feeding and milk-pumping scenes. The character of Ebony Jo-Ann, with her farts, bunions and pratfalls, comes perilously close to an insulting caricature. Maya Rudolph spends much of her time reacting to others and caressing her pregnancy. Adam Sandler plays a good guy who never does much more than be a good guy.

The direction by Dennis Dugan never overcomes the ungainly size of the cast. It’s such a challenge to keep all the characters alive that he sometimes does round-robins of reaction shots — a fatal strategy when it comes to timing. Some of the dialogue is broken down into one-shots; some of the characters spend stretches merely responding. It’s all, as I said, pleasant and good-natured, but it feels too much as if all these nice people are trying to keep the conversation going. A comedy it is, but “The Hangover” or “Death at a Funeral” (2007) it isn’t.

Watch Grown Ups 2010 Here

Why Him 2016

Why Him? 2016

Duration: 111 Minutes

Quality: HD


IMDb: 6.2

Why Him? Article 2016

The title of the movie is “Why Him?,” your first indication that this raunchy R-rated comedy is far more interested in the men engaged in battle across generational, emotional and socioeconomic lines than it is about the woman at the center of the fight.

Why Him Trailer 2016

That woman, by the way, is a bright and bubbly Stanford University senior played by Zoey Deutch—a character of ambition and theoretical agency. But the likable actress (see: “Everybody Wants Some!!”) is relegated to functioning as more of an idea and a pawn than anything else. “Why Him?” spends more time and energy (SO much energy) on the age-old struggle between an overprotective father and the eager-to-please young man who hopes to become his son-in-law.

Bryan Cranston and James Franco are stuck in these one-note roles, respectively, in what is a one-joke movie. Director and co-writer John Hamburg, creator of the “Fockers” franchise, borrows liberally from himself here, making slight tweaks to the central dynamic of those films while upping the gross-out factor. Cranston is uptight and overprotective; Franco is unfiltered and overpowering. “Why Him?” hammers that central notion, hard, for nearly two hours.

But we’re supposed to find both of these characters adorable (or at least admirable) because of one line from Deutch’s character, Stephanie, which suggests perhaps they’re not as different as they seem because they’re both truly authentic, for better and for worse. They’re at least consistent, that’s for sure.

Cranston’s Ned Fleming is the longtime owner of a Michigan printing business, which has been suffering lately in this age of digital greetings. (“Why Him?” plays his Midwestern folksiness for easy, condescending laughs from the very start with a celebratory scene at Applebee’s.) But he agrees to travel to California for Christmas, along with his chipper wife, Barb (Megan Mullally), and their teenage son, Scotty (Griffin Gluck), to meet their daughter’s new boyfriend.

That would be Franco’s Laird Mayhew, who Stephanie’s parents don’t realize is a) 10 years older than she is, and b) a tech billionaire. Laird lives in a ridiculous, minimalist monstrosity high in the hills above Silicon Valley, where various employees, hangers-on, celebrity chefs and farm animals wander in and out during the day. “Why Him?” has nothing to say about the grotesquerie of such a nouveau riche display; these are just random ideas that flit by. Although Kaley Cuoco as the voice of Justine, Laird’s intrusive, in-house version of Siri, doesn’t seem like a possibility that’s too far away.

Keegan-Michael Key gets the film’s few laughs as Gustav, Laird’s right-hand man, concierge and personal trainer. A running bit in which Gustav attacks Laird out of nowhere to keep him sharp and hone his parkour skills might have been amusing if the script from Hamburg and Ian Helfer didn’t feel the need to spell out its similarity to the relationship between Inspector Clouseau and Cato. Jokes are just so much funnier when you explain them afterward, right?

But reining Laird in is impossible—he’s all impulse with his puppyish enthusiasm and profane chatter. He wants desperately to gain Ned’s approval (because Barb’s clearly doesn’t matter) but risks alienating him instead. Oddball characters are Franco’s bread and butter—he’s repeatedly shown he’s game for whatever weirdness is required of him—but he’s afforded no nuance here. He’s just extreme and exhausting. Cranston, meanwhile, is hemmed in on the opposite end of the spectrum. Ned is judgmental and inflexible, with repeated references to how much he and Barb love the band KISS serving as the only indication that he was ever any fun.

Anyway, after an increasing cavalcade of flatly crass visual gags featuring high-tech toilets, moose urine and poorly-timed sexual shenanigans, “Why Him?” collapses the way so many R-rated comedies do. It goes soft and nice and wants us to care about these characters who barely resemble human beings. After all, it’s Christmas. But everyone involved here should have asked Santa for a stronger script.

Watch Why Him 2016 Here

Watch Good Kids 2016

Good Kids 2016

Duration: 86 Minutes

Quality: HD


IMDb: 6.1

Good Kids Summary 2016

From the team that brought you AMERICAN PIE and ABOUT A BOY, GOOD KIDS follows four overachieving high school students on Cape Cod the summer after graduation. After realizing that they missed out on some key life experiences by always being “Good Kids,” they decide to reinvent themselves when the summer tourists come to town by partying for the first time in their lives.

Good Kids Trailer 2016

Watch Good Kids 2016 Here

Watch This is the end 2013

This Is the End 2013

Duration: 107 Minutes

Quality: HD


IMDb: 6.6

This Is the End Article 2013

Back in my Baptist church–going younger days, I sang about Heaven and heard sermon after sermon about Hell. “He-yell,” as the good Reverend called it, was waiting for non-believers and unrepentant sinners. I must have been the latter, because my Mom constantly warned I was “going to Hell with my eyes wide open!” My 8-year old brain conjured up images of falling into a vivid, nightmarish pit of fire and brimstone, my eyes bigger than Marty Feldman’s, only to discover that everybody I knew was down there too, including my beloved Mommy. “Well, look who’s here!” I’d say with a smirk. Mom always responded by literally slapping the Hell out of me.

This Is The End Trailer 2013

I thought of these childhood visions of eternal damnation while watching Seth Rogen and Evan Goldberg’s apocalyptic horror-comedy “This Is The End.” Making their directorial debut, the duo who brought you “Superbad” send celebrity after celebrity to the Devil’s doorstep courtesy of huge, fiery sinkholes that open in the Hollywood hills. These folks deserve it too, for sins far greater than anything a little nappy-headed boy from Jersey could have done in his childhood. Michael Cera, for example, plays an out of control drug fiend who has three-ways in James Franco’s bathroom. Rihanna sings dirty songs with Craig Robinson. Everyone else with a famous pedigree is as debauched as the subjects Kenneth Anger chronicled in “Hollywood Babylon.” Since there’s no room for the hopeless sinner, into the void most of these entertainers go. Lucky non-celebs receive heavenly beams of light that rapture them into Heaven.

Left behind to suffer on Earth is the Judd Apatow Justice League of Actors: Jonah Hill, Jay Baruchel, Danny McBride, Robinson, Franco and Rogen. All play exaggerated, comically depraved versions of themselves. They survive because their directors wanted to hang out with them under the guise of making a movie. But rather than turn “This is the End” into a vanity project where the actors have more fun than their viewing audience, Rogen and Goldberg invite us to partake in their funny-scary lunacy. As the world ends around them, the actors offer a sweet yet biting peek into their platonic relationships. Sending up their tabloid-based persona, “This is the End” offers each a chance to mock and be mocked. The result is far more entertaining (and far gorier) than the commercials led me to believe.

The pre-Apocalypse setup finds Baruchel visiting his best friend Rogen in Los Angeles. After an amusingly sped up montage of stoner humor, Rogen asks Baruchel to join him at their mutual colleague and friend James Franco’s house. Baruchel doesn’t want to go, because Jonah Hill will be there, but Rogen convinces him otherwise. Franco’s oddly-shaped house, where most of the film takes place, is an imaginative piece of set design. With its phallic sculptures, arty paintings, concrete floors, hidden closets and multiple windows, the house becomes a character of its own, eagerly anticipating each horrible visitor who stops by for mischief. The first of said visitors is the one guy nobody invited, Danny McBride. McBride quickly establishes why he was left off the list by displaying the personality one would expect from the star of “Eastbound and Down.”

While Rogen and company take every opportunity to inject humor into their trials and tribulations, “This Is The End” plays the Rapture itself rather straight. The first sequence of the Apocalypse is very well done, with Rogen and Baruchel running directly into chaos. These scenes have a jittery, queasy panic as the directors follow the action with steady camerawork and editing. People die horrible deaths (Michael Cera’s wage of sin is a particularly gruesome paycheck) and while James Franco’s house makes for a comically rendered safe haven, the filmmakers assure us it’s only temporary. Food and water become scarce, and the attitudes inside the house become almost as hostile as the world outside its doors.

“This is the End” finds a balanced tone most horror comedies fail to deliver. Grossout humor melds easily with grossout horror, sometimes at the same moment. The obvious nods to “The Exorcist” and “Rosemary’s Baby” co-exist with a hilarious examination of the familiar dynamics of a group of friends. There’s a leader (Rogen), a troublemaker (McBride), people who pretend to like one another but don’t (Hill and Baruchel), the cool, arty one (Franco) and the all-around nice guy (Robinson). “This Is the End” reminds us of our own circle of friends and the occasional drama that surrounds them. Regardless of the situation, those with a casual comfort around one another always fall back on group-defined roles, routines and conflicts. Not even the end of days will stop Rogen’s friends from ribbing him about “The Green Hornet,” nor will it prevent Jonah Hill from taking shots about his post-Oscar nomination film choices. And nothing ends a grudge like good old-fashioned demonic possession.

As they did with “Superbad,” Rogen and Goldberg add a layer of emotional sweetness that sneaks up on you, diluting the raunchiness and giving the film a greater purpose than mere shock value. Even at the lowest moments of terror and hilarity, there’s an undercurrent of hope and redemption for those who seek it. This is a refreshing change from the spate of recent comedies where meanness alone passes for character development and humor.

Still, be aware that this is a rather hard-R rated comedy. In addition to the fiery pits and the gore, the F/X team provides demons both CGI and human-based (one is clearly a guy in a suit), two very well endowed iterations of Old Scratch, a destroyed Hollywood that Roland Emmerich would envy and a final, blisteringly white final sequence I wouldn’t dare spoil for you.

I was pleasantly surprised by the funny, suspenseful and ultimately jubilant “This is the End,” though I imagine for some viewers it’ll be the equivalent of an eyes-wide-open descent into He-yell. You know who you are.

Watch This Is The End 2013 Here

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