Mad Money (review)
Oh, it’s completely implausible, sure, but rather enticing as well: could three low-level employees at a Federal Reserve bank really walk out the front door with wads of bills that had been destined to be shredded?
Oh, it’s completely implausible, sure, but rather enticing as well: could three low-level employees at a Federal Reserve bank really walk out the front door with wads of bills that had been destined to be shredded?
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.

The sweet silliness of the collective Disney animated fairy-tale landscape meets the rough reality of Noo Yawk. Why didn’t someone think of this sooner and pull it off as perfectly as Enchanted does?
It’s got… something, this silly flick that’s just a little bit profound in its goofiness, this wonderland of schtick that touches on the dark flipside of all the ho-ho-ho and enforced jolliment of the Holiday Season(TM).
This is why Hollywood mostly sucks: Corporate movies are getting made from scripts written by 13-year-olds who went on to drop out of high school.
The problem is not that *Knocked Up* is “liberal” because it’s about casual sex and having a baby out of wedlock. The problem is that it is horribly conservative about embracing and enjoying an adult version of sexuality that has moved beyond dorm-room-esque groping.
Oh, thank the gods. Thank crazy Walt Disney’s head in a cryogenic freezer. Thank the army of producers and FX geeks and writers and cast and studio execs and focus-group gurus and everyone else who made this prepackaged, ready-for-synergy-marketing, lowest-common-denominator junk cinema the most cheesalicious, escape-a-riffic it could be.
Becomes, as all the best sendups do, a thorough tweaking of the genre as well as an excellent example of the same.

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.’