Comedy Classics

When a bumbling movie lover becomes magnetized while attempting to sabotage a local power plant and accidentally erases all of the videotapes in the small video store where his best friend works, the pair attempt to keep the store's loyal customer base by remaking as many of the top-renting movies as possible. Mike (Mos Def) is an employee at Be Kind Rewind, a modest mom and pop video store that is owned by Mr. Fletcher (Danny Glover). Mike's best friend Jerry (Jack Black) works in an auto garage/junkyard directly adjacent to a local power plant. Lately Jerry has become increasingly paranoid about the effects that the power plant is having on his health. Convinced that he has developed a brain tumor from working in such close proximity to the power plant, Jerry attempts to sabotage the plant. Unfortunately for Jerry, his brain is magnetized in the process. The next time Jerry goes to visit Mike at Be Kind Rewind, the powerful magnetization emanating from his brain erases every videotape in the store. Now the only way for Mike and Jerry to be sure that Be Kind Rewind stays in business is to remake every film on the shelves before the customers notice. But when word gets out that Mike and Jerry have remade such Hollywood classics as Back to the Future, Robocop, The Lion King, and Rush Hour without permission, the store is threatened with copyright violations and forced to close its doors. In the aftermath of the closing, Mr. Fletcher and his employees discover just how loyal their customers really are when the entire neighborhood pools their resources to transform the junkyard into a legitimate movie studio and produce an entirely original film detailing the incredible adventures of a local jazz legend. ~ Jason Buchanan, All Movie Guide

After successfully seeking out the ultimate slider in the 2004 stoner comedy Harold and Kumar Go to White Castle, the cannabis-craving twosome returns in this high-flying sequel that finds them labeled terrorists for attempting to sneak a marijuana-smoking implement on a flight to Amsterdam. Harold (John Cho) and Kumar (Kal Penn) have just finished gorging themselves on savory White Castle hamburgers when they return to their apartment and hatch a plan for Harold to win the heart of his crush, Maria (Paula Garcés). Maria is going to Amsterdam, and if Harold can catch up with her overseas perhaps he can strike up a real love connection. After a close call with airport personnel and a chance encounter with Kumar's ex-girlfriend Vanessa (Danneel Harris) -- who hadn't yet told Kumar that she's engaged to be married -- the pot-loving pals finally board their flight for Amsterdam. Unfortunately for Harold, Kumar isn't able to endure the lengthy flight without an innocent puff or two from his smokeless bong. When the plane hits some turbulence and the bong is mistaken for a bomb, the flight is diverted to Guantanamo Bay and our spliff-smoking heroes are detained by overzealous Deputy Chief of Homeland Security Ron Fox (Rob Corddry). Now, if they can just escape from the world's most notorious prison compound, perhaps this hapless duo can succeed in convincing the authorities that they aren't enemy combatants, and that Kumar made the mistake of his life by letting Vanessa go. But before they can prove their innocence and get the girls, Harold and Kumar will have to outsmart the dreaded Ku Klux Klan, contend with a particularly precocious Cyclops baby, and successfully elude everyone's favorite debauched former child star -- Neil Patrick Harris. ~ Jason Buchanan, All Movie Guide

The British sitcom A Fine Romance aired for four seasons from 1981-1984 on London Weekend Television and has since been syndicated on PBS in the States. Judi Dench stars as Laura Dalton, a quirky independent woman who meets the equally eccentric Mike Selway, played by Dench's real-life husband Michael Williams. The mismatched pair is introduced by Laura's sister, Helen Dalton-Barker (Susan Penhaligon), and brother-in-law, Phil Barker (Richard Warwick). Laura and Mike humorously suffer through day-to-day turmoils, eventually finding romance. In 1984, Judi Dench won a BAFTA TV award for Best Light Entertainment Performance. ~ Andrea LeVasseur, All Movie Guide

When Dante Hicks (Brian O'Halloran) is reluctantly put in charge of the Quick Stop market on his day off, he tries, though half-heartedly, to perform his minimum-wage duties as efficiently as possible. This gets tough amidst the on-going fight with his girlfriend, Veronica (Marilyn Ghigliotti), and his attempt to get back together with his ex-girlfriend, Caitlyn Bree (Lisa Spoonhauer). Meanwhile, his friend and alter ego Randall (Jeff Anderson) is working behind the counter of the adjacent video store -- at least when he feels like it. Randall's unabashed disdain of his place of employment, a long with his self-admitted hatred towards its customers is a sharp contrast to Dante's feeble attempts at the niceties of customer service. Much of the film consists of Randall and Dante's criticism of their customers, their lives, and the world in general. Clerks, filmed in black-and-white on a budget of only $27,000, began the career of writer director Kevin Smith, who would go on to make Mallrats (1995), Chasing Amy (1997), Dogma (1999), and Jay and Silent Bob Strike Back (2001). ~ 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

Forever interested in the kitsch built into past eras, director John Waters chooses the TV dance show craze of the early '60s for his playful focus in Hairspray. Ricki Lake plays Tracy Turnblad, just one of several alliteratively named characters coming of age in 1962 Baltimore, where "The Corny Collins Show" is the most popular American Bandstand-type program, watched by hundreds of young dreamers each day after school. Being chosen to dance on it is the ultimate status symbol and every young girl's dream, and Tracy improbably wins a featured spot when she infiltrates a dance contest and makes a better impression than her favored rival, the catty Amber von Tussle (Colleen Fitzpatrick). Always able to have fun, even when she's being mocked by the jealous popular girls, Tracy wins the affections of Amber's boyfriend and soon begins leading a movement to integrate the dance show, which has previously featured blacks only in a once-weekly theme night. She is arrested following a demonstration at a local theme park owned by Amber's father (Sonny Bono), who subscribes to the same theory of race relations as "The Corny Collins Show." Tracy's adventures are also filtered through her loving but eccentric parents (Divine and Jerry Stiller) and involve a humorous cultural clash with pot-smoking beatniks (Ric Ocasek and Pia Zadora). ~ Derek Armstrong, 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

Young Billy is preparing for a strange summer with his eccentric, toymaker father on the island of Catalina when he makes two very special friends. One is a wily girl named Emma who is around his age, but the other is a very unusual dog named Sherlock. Sherlock claims to be a police dog-he actually talks! He only talks to the two kids though, and they'll need his help to catch some nasty smugglers who are spoiling the island paradise for the law abiding citizens. ~ Cammila Albertson, 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

It seems that Count Dracula (Bela Lugosi), in league with a beautiful but diabolical lady scientist (Lenore Aubert), needs a "simple, pliable" brain with which to reactivate Frankenstein's creature (Glenn Strange). The "ideal" brain belongs to the hapless Lou Costello, whom the lady doctor woos to gain his confidence and lure him to the operating table. Lawrence Talbot (Lon Chaney Jr.), better known as the Wolf Man, arrives on the scene to warn Costello and his pal Bud Abbott of Dracula's nefarious schemes. Throughout the film, the timorous Costello witnesses the nocturnal rituals of Dracula and the Monster, but can't convince the ever-doubting Abbott--until the wild climax in Dracula's castle, where the comedians are pursued by all three of the film's monstrosities. As a bonus, the Invisible Man (voiced by an unbilled Vincent Price) shows up for "all the excitement." ~ Hal Erickson, All Movie Guide

This spoof of the Airport series of disaster movies relies on ridiculous sight gags, groan-inducing dialogue, and deadpan acting -- a comedy style that would be imitated for the next 20 years. Airplane! pulls out all the clichés as alcoholic pilot Ted Striker (Robert Hays), who's developed a fear of flying due to wartime trauma, boards a jumbo jet in an attempt to woo back his stewardess girlfriend (Julie Hagerty). Food poisoning decimates the passengers and crew, leaving it up to Striker to land the plane, with the help of a glue-sniffing air traffic controller (Lloyd Bridges) and Striker's vengeful former captain (Robert Stack), who must both talk him down. Along the way, we meet a clutch of stock disaster movie passengers like the guitar-strumming nun, a sick little girl, a frightened old lady, and two African-American travelers whose "jive" has to be subtitled. Leslie Nielsen portrays the plane's doctor, launching a new phase of the actor's career that carried him through the next two decades in several similarly comedic roles. The trio of directors Jim Abrahams, Jerry Zucker, and David Zucker responsible for the film would eventually go on to solo careers, but not before making Top Secret! and Ruthless People. ~ Perry Seibert, All Movie Guide