Comedy Classics

It is 1895 in Canton, China. The Europeans are still milking the country for every dollar they can and claiming special privileges in it, as well. Meanwhile, the virulently anti-foreign White Lotus Society is mounting attacks on the generally clueless British, with the very obvious but low-key support of the government. If somebody doesn't protect the idiotic foreigners, things could get so far out of hand that they will bring in their armies for some really debilitating reprisals. This is all going on just at a time when China has some other serious problems, like the democratic agitations of Sun Yat Sen and the imperialist inroads of the Japanese, who have just stolen Taiwan from China. Fortunately, Wong Fey Hong (Jet Li) is a crafty and effective man and a wonderfully skilled martial artist. He is prepared to do what he can to protect the widely resented foreigners for reasons which are quintessentially Chinese. This is the second of four martial arts historical epics, all with the same basic title. ~ Clarke Fountain, All Movie Guide

More than anything else, 13-year old New Jerseyite Josh (David Moscow) wants to be "big". That's the wish he makes at an odd-looking amusement pier fortunetelling machine. The next morning, Josh wakes up-only to discover that he's grown to manhood overnight! (At this point, the part is taken over by Tom Hanks). Still a 13-year-old mentally and emotionally, Josh decides to hide out in New York City until he can figure out what to do next. He lucks into a job with a major toy company run by kid-at-heart McMillan (Robert Loggia). By cannily bringing a child's eye view to McMillan's business, Josh rises to the top-and in process, he falls in love with fellow employee Susan (Elizabeth Perkins). But he's still a kid, and he'd like to go back to his own world and own body. Written by Gary Ross and Anne Spielberg, Big proved a crucial success for budding director Penny Marshall, who'd work harmoniously with Hanks again on the radically different A League of Their Own. The cinematography was by Barry Sonenfeld, who went on to become a director himself with The Addams Family. That Big was heavily reliant upon the input of Tom Hanks and Penny Marshall was proven by the failed attempt to turn the property into a Broadway musical. ~ Hal Erickson, All Movie Guide

Teenaged Ferris Bueller (Matthew Broderick) is a legend in his own time thanks to his uncanny skill at cutting classes and getting away with it. Intending to make one last grand duck-out before graduation, Ferris calls in sick, "borrows" a Ferrari, and embarks on a one-day bacchanal through the streets of Chicago. Dogging Ferris' trail at every turn is high-school principal Rooney (Jeffrey Jones), determined to catch Bueller in the act of class-cutting. Writer/director John Hughes once again tries to wed satire, slapstick, and social commentary, as Ferris Bueller's Day Off starts like a house afire and goes on to make "serious" points about status-seeking and casual parental cruelties. It brightens up considerably in the last few moments, when Ferris' tattletale sister (Jennifer Grey) decides to align herself with her merry prankster sibling. A huge moneymaker, Ferris Bueller's Day Off eventually spawned a TV sitcom. ~ Hal Erickson, All Movie Guide

Chevy Chase, star of National Lampoon's Vacation and its sequel, is back as the paterfamilias of the Griswold family (including Beverly D'Angelo as his missus) to skewer the Yuletide season. Chevy mugs, trips, falls, mashes his fingers and stubs his toes as he prepares to invite numerous dysfunctional relatives to his household to celebrate Christmas. Amidst the more outrageous sight gags (including the electrocution of a cat as the Christmas tree is lit) the film betrays a sentimental streak, with old wounds healing and long-estranged relatives reuniting in the Griswold living room. National Lampoon's Christmas Vacation was still capable of attracting an audience five years after its release: It was one of the top-rated seasonal TV specials of 1994, outrating even the first network telecast of It's a Wonderful Life. ~ Hal Erickson, All Movie Guide

"Just one word: plastic." "Are you here for an affair?" These lines and others became cultural touchstones, as 1960s youth rebellion seeped into the California upper middle-class in Mike Nichols' landmark hit. Mentally adrift the summer after graduating from college, suburbanite Benjamin Braddock (Dustin Hoffman) would rather float in his parents' pool than follow adult advice about his future. But the exhortation of family friend Mr. Robinson (Murray Hamilton) to seize every possible opportunity inspires Ben to accept an offer of sex from icily feline Mrs. Robinson (Anne Bancroft). The affair and the pool are all well and good until Ben is pushed to go out with the Robinsons' daughter Elaine (Katharine Ross) and he falls in love with her. Mrs. Robinson sabotages the relationship and an understandably disgusted Elaine runs back to college. Determined not to let Elaine get away, Ben follows her to school and then disrupts her family-sanctioned wedding. None too happy about her pre-determined destiny, Elaine flees with Ben -- but to what? Directing his second feature film after Who's Afraid of Virginia Woolf?, Nichols matched the story's satire of suffocating middle-class shallowness with an anti-Hollywood style influenced by the then-voguish French New Wave. Using odd angles, jittery editing, and evocative widescreen photography, Nichols welded a hip New Wave style and a generation-gap theme to a fairly traditional screwball comedy script by Buck Henry and Calder Willingham from Charles Webb's novel. Adding to the European art film sensibility, the movie offers an unsettling and ambiguous ending with no firm closure. And rather than Robert Redford, Nichols opted for a less glamorous unknown for the pivotal role of Ben, turning Hoffman into a star and opening the door for unconventional leading men throughout the 1970s. With a pop-song score written by Paul Simon and performed by Simon & Garfunkel bolstering its contemporary appeal, The Graduate opened to rave reviews in December 1967 and surpassed all commercial expectations. It became the top-grossing film of 1968 and was nominated for seven Oscars, including Best Picture, Actor, and Actress, with Nichols winning Best Director. Together with Bonnie and Clyde, it stands as one of the most influential films of the late '60s, as its mordant dissection of the generation gap helped lead the way to the youth-oriented Hollywood artistic "renaissance" of the early '70s. ~ Lucia Bozzola, All Movie Guide

In A Fish Called Wanda, Jamie Lee Curtis plays an ambitious con artist who uses every ounce of her sexual wiles to obtain a fortune in jewels stolen by her gangster lover Tom Georgeson. First, she romances Georgeson's dimwitted but deadly henchman Kevin Kline (who won an Academy Award for his performance). Then, to clear the path for her getaway with Kline, Jamie woos Georgeson's starched-shirt attorney, John Cleese -- and it's Cleese whom she genuinely falls in love with. Michael Palin, Cleese's former Monty Python cohort, plays a stuttering mob flunkey who continually messes up his one big assignment: killing a little old lady (it isn't that he has any qualms about knocking off the old dear; it's just that her pet dogs keep getting in the way). A Fish Called Wanda was scripted by star John Cleese. ~ Hal Erickson, All Movie Guide

The ghoulish cartoon family created by Charles Addams returns for a second big-screen outing darker and nastier than the first. When Morticia Addams (Anjelica Huston) gives birth to new baby boy Pubert, the other Addams children, Pugsley (Jimmy Workman) and Wednesday (Christina Ricci), devise any number of ways to kill off their new sibling. This leads Morticia and her husband, Gomez Raul Julia, to hire a nanny (Joan Cusack) to oversee all three children. But the nanny has an agenda of her own, packing the Addams children off to a horrid parody of summer camp and setting out to seduce Uncle Fester (Christopher Lloyd), all with the goal of getting her hands on the Addams family fortune. Of course, the Addams eventually triumph, with this blacker-than-most satire extolling the virtues of eccentricity and non-conformity above all. It was followed by 1999's direct-to-video Addams Family Reunion, with Darryl Hannah and Tim Curry replacing Huston and the late Julia. ~ Don Kaye, All Movie Guide

Monty Python's And Now For Something Completely Different was first released in the US in 1973, but didn't really take off as a midnight-movie fixture until after the Monty Python's Flying Circus TV series began making the PBS rounds. Graham Chapman, John Cleese, Eric Idle, Terry Jones, Michael Palin and Terry Gilliam are the Pythonites in attendance, together with semiregulars Carol Cleveland and Connie Booth. The sketches presented include such classics as "The Lumberjack Song", "Hell's Grannies", "The Upperclass Twit of the Year Race", and, of course, "The Dead Parrot". Additionally, Terry Gilliam's animated-cartoon interpolations act as buffers between sketches. ~ Hal Erickson, All Movie Guide

Auntie Mame began as a novel by Patrick Dennis (aka Ed Fitzgerald), then was adapted into a long-running Broadway play by Jerome Lawrence and Robert E. Lee. This 1958 film version permits Rosalind Russell to recreate her stage role as Mame Dennis, the flamboyant, devil-may-care aunt of young, impressionable Patrick Dennis. Left in Mame's care when his millionaire father drops dead, young Patrick (Jan Handzlik) is quickly indoctrinated into his aunt's philosophy that "Life is a banquet--and some poor suckers are starving to death." Social-climbing executor Dwight Babcock (Fred Clark) does his best to raise Patrick as a stuffy American aristocrat, but Mame battles Babcock to allow the boy to be as free-spirited as she is. In 1974, Auntie Mame was remade as the filmmusical Mame with Lucille Ball. ~ Hal Erickson, All Movie Guide

This Australian cult film draws extremely dark humor from the story of Bubby, a man who has spent the first 35 years of his life locked in a disgusting basement by his abusive, controlling mother. Having been taught that the outside air is poisonous and that leaving home is sinful, he only realizes the truth when his long-absent father returns to disrupt the already twisted family unit. A tragic confrontation follows, forcing Bubby into the real world. Knowing nothing about life, and undoubtedly suffering from mental disturbance, he stumbles about the city, speaking in a rambling monologue made up mainly of overheard phrases. His behavior is interpreted in different ways by the people he encounters: some think him insane, while others equate his strange speech and erratic behavior with brilliance. The edgy lead performance by Nicholas Hope is key to the film's success, managing to make Bubby a figure that is both sympathetic and at times quite frightening. ~ Judd Blaise, All Movie Guide

Bedknobs and Broomsticks was produced several years after Walt Disney's death and released in the fall of 1971. As it turned out, Bedknobs was frequently compared to Mary Poppins -- probably thanks to several striking similarities between the two productions, notably the presence in the cast of David Tomlinson, the use of Cockney children as central characters, and the inclusion of sequences that combine animation and live-action. Set in wartime England, Bedknobs stars Angela Lansbury as Eglantine Price, a would-be witch who hopes to use her newly acquired conjuring powers to forestall a Nazi invasion. Saddled with three surly kids who've been evacuated from London, Lansbury wins over her charges by performing various and sundry feats of magic. And, yes, she manages to foil a few Germans along the way. The film's most famous episode is an elaborate undersea fantasy, which combines animation with live-action on a gargantuan scale, dwarfing all previous Disney sequences along these lines. ~ Hal Erickson, All Movie Guide

Johnny Depp was nominated for a Golden Globe for his astonishing performance in Benny & Joon, though the entire cast is equally impressive. Benny (Aidan Quinn) runs a small car repair shop. He must also take care of his mentally ill sister Juniper, better known as Joon (Mary Stuart Masterson). After losing a bet, Benny is forced to bring another eccentric into his house: Sam (Johnny Depp), the cousin of a friend. Not inclined to conversation, Sam expresses himself by performing Charlie Chaplin and Buster Keaton routines (and brilliantly!) Not surprisingly, he immediately hits it off with Joon. As Sam and Joon fall deeper in love, Benny for the first time in life experiences the pangs of jealousy. As can be gathered by this synopsis, Benny and Joon may not strike responsive chord with everyone; those who like the film, however, are almost militant in their devotion. ~ Hal Erickson, All Movie Guide

Most animation aficionados of the 1990s know "Savage Steve Holland" as the cocreator (with Bill Kopp) of the all-stops-out TV cartoon series Eek! The Cat. But Holland had been exercising his own peculiar brand of deviltry on live characters long before Eek! came into being. In Holland's Better Off Dead, John Cusack plays a lovestruck teenager, hopelessly enamored with Amanda Wyss. When she dumps him in favor of a more popular high-schooler, the boy's entire day quickly goes to Hell. In the words of Hamlet, all occasions do inform against Cusack: he is bullied, tormented and torn apart by everyone from the paperboy (who seemingly turns up everywhere) to the disembodied voice of a radio deejay. Cusack attempts suicide, but his efforts are just as unsuccessful-and amusing-as Bud Cort's in Harold and Maude. Meanwhile, French exchange student Diane Franklin, held a virtual prisoner by her host family, develops a long-distance crush on Cusack. ~ Hal Erickson, All Movie Guide