The Lonely Island's POPSTAR: A Hilariously Breezy Piece Of Comedy Gold

Opening today at a multiplex near us all:

POPSTAR: NEVER STOP NEVER STOPPING
(Dirs. Akiva Schaffer & Jorma Taccone, 2016)

The first original feature film from the comedy trio The Lonely Island (Andy Samberg, Jorma Taccone, and Akiva Schaffer) who cut their teeth making over 100 Digital Shorts for Saturday Night Live, is the funniest musical mockumentary since THIS IS SPINAL TAP.

Mind you, the genre of musical mockumentaries isn’t very large, but the sheer volume of big laughs in POPSTAR: NEVER STOP NEVER STOPPING indeed makes it worthy enough to be compared to that highly acclaimed comedy classic.

Samberg stars as Conner4Real, a pop/rap superstar who was previously the front man for the hit group the Style Boyz, which included his childhood buddies Lawrence (Schaffer), and Owen (Taccone).

The band broke up after infighting led to a stage meltdown which resulted in Lawrence leaving to become a farmer, while Owen stayed on as Conner’s DJ/producer (which basically means he just has to press play on an iPod).

The film follows Conner on tour in support of his second solo album, Connquest, which is off to a shaky start because of bad reviews - Pitchfork gives it a negative 4.5, while Rolling Stone abandons their star rating system to give it a shit emoji, which Conner thinks is a misprint. The only good review our not-too-bright protagonist finds is from The Onion, which, of course, he doesn’t know is a satirical site.

Joining Conner and Owen on the road is Sarah Silverman as Conner’s publicist Paula, who has one of the film’s funniest lines: “I don’t listen to Conner’s music in my personal time, but he makes so many people so much money,” SNL veteran Tim Meadows, no stranger to pop parodies as he appeared as a band member in WALK HARD: THE DEWEY COX STORY, is on hand as Conner’s manager Harry, and Imogen Poots plays Conner’s girlfriend Ashley.

In true Spinal Tap style, the tour is beset with problems. Firstly, Conner’s promotional deal with Aquaspin, an appliance company that programs their products to play Conner’s new singles whenever the owner accesses them – i.e. music blares whenever people open their refrigerator, microwave, laundry machine, etc. – gets a lot of negative backlash – i.e. people smashing their appliances (this plays as a delicious send up of the debacle over U2's deal with Apple which had their last album uploaded on every iTunes user's playlists, but Taccone has said in interviews that they had written this storyline before that happened).

Then Conner gets hugely upstaged by his opening act, Chris Redd as the up-and-coming rapper Hunter the Hungry, who may be behind an ultra embarrassing wardrobe malfunction that makes Conner look like he has no genitalia – the movie’s Stonehenge perhaps.

In an attempt to put a positive story out into the nonstop negative news cycle, Conner stages a romantic proposal to Ashley involving a performance by Seal, and a pack of wolves, but somehow things don’t go as planned.

After this series of public humiliations, Conner has hit rock bottom and it looks like the only way to get back on top is to reunite with his former band mates for an awards show performance.

POPSTAR is stuffed with hysterical cameos by the likes of Samberg’s SNL pals like Bill Hader, Will Forte, Maya Rudolph, and Jimmy Fallon, as well as many big names from the music world such as Questlove, Mariah Carey, Snoop Dog, Adam Levine, 50 Cent, Nas, Usher, Pink, and even ex-Beatle Ringo Starr.

There’s also a scene stealing appearance by Justin Timberlake as Conner’s chef, and an uproarious satire of the tabloid TV show TMZ, called CMZ, which has Will Arnett, satirizing sleazy celebrity gossip monger host Harvey Levin, laughing, with a room full of snarky bloggers, including Eric André, Chelsea Peretti, and Mike Birbiglia, like maniacs at Conner’s every misstep.

There are very few gags that don’t land big in Sandberg and Co.’s terrific takedown of celebrity culture in the internet age. It feels like they might have taken the Monty Python route and cut everything that didn’t get a laugh in test screenings judging from the high ratio of screamingly successful jokes-per-minute on display. Even when I expected to cringe at the juvenile, crude humor bits like the aforementioned wardrobe malfunction and an extended flaccid penis rubbing up against a limo window gag, I ended up giggling my ass off.

A hilariously breezy piece of comedy gold that shines as bright as Conner’s bling-bling, POPSTAR is The Lonely Island’s greatest achievement. If you’re not a fan of their SNL Digital Shorts, or of Samberg’s shtick in general (including his Fox sitcom Brooklyn Nine-Nine, which I love), you may want to skip it, but if you are then you’re in for a very filling, and funny as f*** treat.

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As Dracula, Adam Sandler Is Required To Suck

HOTEL TRANSYLVANIA 

(Dir. Genndy Tartakovsky, 2012)

Those who have been waiting for a new fix of animated Adam Sandler hi-jinks - it’s been ten years since EIGHT CRAZY NIGHTS after all - will surely overdose on his hammy take on Dracula in HOTEL TRANSYLVANIA, the new 3D CGI spectacle from the studio that brought you THE SMURFS.

Sandler, who also executive produced, does the typical Bela Lugosi impression for the voice of the famous vampire, except that he denies ever saying “bleh-bleh-bleh,” plays the ukulele, and can bust out a rhyme, you know, if the occasion calls for MC Dracula.

As the owner and creator of the lavish Hotel Transylvania, a vacation place only for monsters, Sandler’s Dracula is preparing for the 118th birthday of his precocious daughter Mavis (Selena Gomez), when trouble arrives in the form of an airheaded backpacking teenager named Jonathan (SNL's Andy Samberg).

Dracula does what he can as an overprotective father to shield Mavis from the intruding human, but she feels what screenwriters Peter Baynham, Robert Smigel (a Sandler collaborator since their SNL days), along with director Genndy Tartakovsky who did a re-write, insist on calling a “zing” (love at first site) for the wacky kid. Not sure why, she’s a hundred years older than him and should know better than to fall for such a doofus, but, oh well.

The huge cast of supporting celebrity voices features Frankenstein's Monster (Kevin James) and his wife Eunice (a more annoying than usual Fran Drescher, but that description fits almost everybody here), Wayne and Wanda Werewolf (Steve Buscemi and Molly Shannon), and the party-monster Murray the Mummy (Cee Lo Green).

There’s also Griffin the Invisible Man, voiced by Sandler’s old fellow SNL buddy David Spade, who is a good example of how each of the classic creatures are just one joke characters, and the joke isn’t funny in the first place.

In fact none of HOTEL TRANSYLVANIA is funny, despite how energetic and over-the-top it is. It could have something to do with the sizable percentage of pee, poop, and fart jokes that take the place of wit. At least there’s only a few pop culture references, but the ones that are there (a Dave Matthews mention, a viewing of TWILIGHT on an iPad) are huge groaners.

The animation is fine but not especially inspired, and there’s no sense of stakes (I’m not making a vampire joke here) in the story-line, since we know Samberg’s Jonathan is no threat to anybody, and Sandler’s Dracula is really a good guy with a big heart who will see the light. Yawn.

By the way isn’t natural light supposed to kill vampires? The big over-caffeinated chase scene finale takes place in the pure sunlight of the morning, and Dracula only gets a little singed.

The ending has Samberg and Sandler show off their rap skills to a big obnoxious auto-tuned pop song, capping 90 minutes of crap aptly. My nephews (ages 8, 14, and 15), who I took to the screening, said they liked it, but I seriously doubt it will take up much space in their memory.

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CELESTE & JESSE: Our latest anti-rom com couple

CELESTE & JESSE FOEVER (Dir. Lee Toland Krieger, 2012)

Looks like another anti-rom com to me. Here we have Parks and Recreation’s Rashida Jones and SNL’s Andy Samberg as a Los Angeles couple who are getting a divorce, yet they are still inseparable. This greatly annoys their friends, Ari Graynor and Eric Christian Olsen, who are engaged, we learn at an opening restaurant dinner scene, in which Jones and Samberg do silly German accents, and giggle to each other.

We get the picture shortly afterwards that Jones is the responsible successful career woman, and Samberg is the underachieving artsy man-child, who would fit right in to a Judd Apatow movie. Samberg wants to reconcile, and that doesn’t seem so unlikely, as Jones is obviously hesitant to move on, but things get complicated when Samberg finds out that a woman he had a fling with (Rebecca Dayan) is pregnant.

Sounds like a rom com set-up, right? But hold on, the smart screenplay, co-written by Jones and Will McCormack (who also appears in the film as a pot dealer named Skillz), has better a more realistic sense to it. Adding to that is Lee Toland Krieger’s swift direction which gives it a slices-of-life feel.

The film is told from Jones’ point of view, and it’s an appealingly self-deprecating point of view. Her exchanges with a possible new suitor (Chris Messina - no stranger to anti-rom coms as he was just in RUBY SPARKS), refreshingly display that these are layered characters, not caricatures. So much so that when Messina asks Jones “You wanna be right, or you wanna be happy?” it doesn’t come off as a contrived line - it feels as natural and believable as just about everything else on screen.

Maybe there are some superfluous elements, such as Elijah Wood as a co-worker of Jones who seems to know he’s only there to be a saucy gay friend (especially since he says “Sorry, I was trying to be your saucy gay friend”), and Emma Roberts as a snotty pop star client Jones has to deal with, but they don’t get in the way of the emotional pull at all.

With the right balance of laughs and touching moments, CELESTE & JESSE FOREVER is an effective movie mediation on how difficult it can be to move on.

It’s also time well spent with a couple of up and coming talents. It’s nice to see that Samberg can dial back the excessive wackiness (don’t get me wrong – I love him on SNL and HOT ROD is actually a very funny film), and show off some dramatic chops, and Jones gets a choice chance to carry a movie in her first leading role (her smart parts in THE SOCIAL NETWORK and THE MUPPETS barely hinted at her range).

I believe that BRIDESMAIDS started a trend in re-thinking the tired rom com formulas, (though that was a pretty outlandish and fairly non-realistic take on the genre) and films like this are going to be more and more welcome. Like last spring’s FRIENDS WITH KIDS, this is a enjoyable addition to the anti-rom com community.

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