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I think maybe I’ve figured out how Joel and Ethan Coen do it. How they move so effortlessly from comedy to drama, from fluffy to forceful, from silly to solemn. It’s that they don’t think about tone or genre, at least not at the beginning: they just think about a character, and let him have his lead, and see where he takes them.
Imagine if Laurel and Hardy were Irish hitmen caught in a web of existential angst…
It’s one of those “fundamental interconnectedness of all things” things. Or a good-news, bad-news joke. Or an admonition to be careful what you wish for.
A gloriously deranged orgy of Bugs Bunny-style action and nonstop gunplay.
This is one of the funniest movies I’ve ever seen, and that’s not something I say lightly. It’s practically Shakespearean in its exquisite foolishness and comedic intrigue.
You’re lucky you’re not a genius. It’s one of those perfect-crime kinda flicks, wrapped up in familial angst as a black-comedy topping. That it’s all rather ridiculous and overly complicates itself in the process is almost beside the point … though not entirely. See, arrogant college prof and working scientist Eli Michaelson (Alan Rickman: Harry … more…
It’s just as visually lively, just as crammed full of clever and literate wordplay, just as screamingly hilarious as ‘Shaun of the Dead.’
‘Idiocracy’ is even more trenchant, more damning, more — hell, I’ll say it — ‘revolutionary’ than ‘Office Space.’
Highly recommended… if you can take humor that is, paradoxically, relentlessly sad.
Sacha Baron Cohen is a genius. A crazy genius, maybe, a man who takes dedication to his art to a level courting criminal prosecution and bodily harm, but a genius nevertheless.
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