Series Review: A Canadian Comic Moves to a Farm — “Tom Green Country”

The Canadian cut-up Tom Green was always an acquired taste.

He showed up on the Canadian comedy scene post-“Second City,” a young self-promoting prankster who got “The Tom Green Show” on fringe Canadian TV and then MTV, making a name for himself for his manic, goofy persona, unfiltered mouth and his sometimes off-color pranking.

At its “best,” The Tom Green Show” was “Young Benny Hill gives birth to ‘Jackass.'”

In his peak years, Green ventured into movies — kudos for paying Wikipedia to describe the fiasco “Freddy Got Fingered” as a “cult film, chief — hosted “Saturday Night Live,” married and divorced Drew Barrymore and survived testicular cancer.

As his career faded, he took shots at posing as a rapper, tried to be a talk show host, podcaster and stand up comic and kept his “brand” alive by doing documentaries about his life during this or that change in focus.

“Tom Green Country” is his latest venture. And considering the success of “Clarkson’s Farm,” Amazon picking this series up isn’t the stupidest money Jeff Bezos ever spent. It’s a comedian-takes-up-“hobby”-farming reality series. That could work.

Green tells us he sold a house in “the Hollywood Hills” and bought a quite primitive, old Ontario farm. It’s rustic as all get out, even if the log cabin he lives in has seemingly all the modern comforts. We see his elaborate TV/podcast production studio set up. Then we watch him have a new outhouse installed and wonder how much, if any, of this is “real.”

Green buys a custom-made henhouse to raise chickens and gets “instructed” on how it’s done. He samples one of the dead, dried meal worms that are their feed.

He buys a donkey and a mule, and learns about them and is taught how to ride.

He leans on hired assistance and the help of his once-pranked parents, Mary Jane and Richard, who show him how to raise asparagus with his mom calling him a “spoiled baby” for only wanting to eat the “soft tops.”

And Green wrote and sings the title tune, which is as “country” as it gets.

“Headin’ home to the country, to the place I’ve always been. Goodbye to California, and all the things I’ve seen. Goin’ back to Canada, to live my American dream…”

A lot of people with the money to do so — rich newspaper columnists among them — bought small farms when COVID brought the world to a halt. And those farms became column fodder and book pitches for some, video blogs for others.

So there’s little novelty to Green going “country.” The stakes are low, as he’s not making a living farming or trying to make a farm “pay” the way Jeremy Clarkson does in his far superior and funnier (and sadder) series.

Green picks up his companion/dog Charlie and carries her on stage with him for stand-up performances in small-cities and large all over Ontario. And we’re reminded again of that “acquired taste” thing. The shtick barely provokes so much as a smirk.

He’s not particularly original in his ’50s. Tom Green has aged into Red Green, a Red Green with a fondness for “poo” and “pee” jokes and lots of F-bombs.

The best way to describe the show comes from his mother, who gives him “notes” on his attempts at humor, suggesting his comic instincts have faded. He tries to say something funny and then “belabors” the joke, Mom reminds him.

Always listen to Mom, Tom Green.

The hobby farm is lovely — not sure where it is, but he grew up in Pembroke, and Lyndhurst is also mentioned — and my favorite bit from it was having an Ontario wildlife official help him set up a wildlife camera where they spy bears, porcupines, raccoons and wolves on the property.

But the sucky stand-up, limp “interviews” (an unfunny, delusional “Sasquatch” expert) and aged out of his brand Green don’t give this show much of a future.

Rating: TV-MA, profanity, scatological humor

Cast: Tom Green,

Credits: Directed by Tom Green. An Amazon Prime release.

Running time: four episodes (+?) @:30 minutes each

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Movie Preview: A “Braveheart” take on “William Tell”

Connor Swindells, Jonathan Pryce and Sir Ben Kingsley star in this Swiss Myth Movie, which Samuel Goldwyn picked up for distribution in North America.

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Movie Preview: Thanks to Evil Eric Roberts, we’re gonna LOSE “The Comic Shop!”

A bit squishy and sentimental for Quiver Distribution to pick up.

Jesse Metcalf stars, with Tristan Mays, Micah Gionvanni and Aging like fine but Evil wine Eric Roberts.

April 11, here we go.

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Movie Preview: Michael Shannon Directs Judy Greer, Alexander Skarsgård, Tracy Letts and Alison Pill — “Eric Larue”

Greer plays the mother of a teen who killed people in this drama scripted by Brett Neveau and directed by the formidable Mr. Shannon.

Looks like a Greer showcase, with a supporting cast a lot more worthy of her status and talent than that “Best Christmas Pageant Ever” almost-blockbuster.

April 4.

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Movie Review: There’s Always a way Out of a Jam when you’re “Trigger Happy”

“Trigger Happy” is a bloody-minded dark comedy that at least managed to get the “dark” right.

A stumbling misfire of a satire packed with repellent characters and rarely creative means of murder, it misses on most every level that matters. And while no cast could likely bring this to life, this one doesn’t exactly decorate their resumes with their work in this clunker.

Tyler Poelle plays George, a debt-riddled doofus in a dead marriage and a dead-end job — waiting tables for a bully (Caitlin Duffy) who inherited her mom’s diner.

Wife Annie (Elsha Kim) is an aspiring actress whose aspirations seem limited to landing an info-mercial. Even when she lands one, she’s not contributing. It’s “non-union,” non-paying.

“I get paid in EXPERIENCE!”

At least George has a job. Mikey (Matt Lowe) is unemployed, throwing himself into making and eating pies and growing less attractive by the minute to his hot school principal wife Gemma (Christina Kirkman), who is A) Annie’s bestie and B) cheating with the “hot skiy diving instructor” Tye (Kevin Kreider).

In this alternate universe where the Department of Gun Ubiquity ensures firearms are everywhere, and “required” to get things like health insurance, George sees two ways out. One, he can win the lottery, which he plays religiously. Or two, he can kill his wife, collect the insurance and escape to the Bahamas.

George isn’t creative at all when it comes to ways to unload Annie. He isn’t even all that good at hiding his intentions or frame of mind.

“I have never felt more ‘hinged,'” should convince no one.

About the only shock laugh in director/co-writer Tiffany Kim Stevens’ “romp” comes when a monstrous, dart-gun wielding tween gets what she has coming to her.

The script is minimalist dreck, telegraphing its limited supply of “moves” and botching murders, attempts at murder and fantasizing about murder.

No turn of events or twisted character connects, clicks or delivers anything funny or that even justifies sticking around for the end.

Rating: violence, sex

Cast: Tyler Poelle, Elsha Kim, Christina Kirkman, Caitlin Duffy, Matt Lowe, Kevin Kreider and Tre Hall

Credits: Directed by Tiffany Kim Stevens, scripted by Daniel Moya and Tiffany Kim Stevens. A Gravitas Ventures release.

Running time: 1:26

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Davey Tennant & Co. set the Awards Show Bar “500 Miles” High

Well, this is delightful. And kilted. Kudos to Kendrick and Colman for helping David Tennant, Helen Mirren and Brian Cox kick it up a notch at this year’s BAFTAs.

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Classic Film Review: A late life James Earl Jones gem is restored — “The Annihilation of Fish”

One of the first accomplishments of the then newly-created National Film Registry was to rescue the work of Black indie filmmaker Charles Burnett.

The Registry was Created by the Library of Congress in 1988 and set up to “preserve” as “”culturally, historically or aesthetically significant films.” Burnett’s “Killer of Sheep” was among the first 25 movies deemed endangered and worthy of recognition and preservation. That film stood out in that initital list because it was only ten years old, a little-seen indie film before “indie” was a thing, and was destined to vanish if no attention was called to it and its merits weren’t acknowledged.

Burnett’s still making films and remains almost as obscure as ever. But his small output over the decades has its gems, “To Sleep With Anger” among them.

“The Annihilation of Fish” is the only comedy he’s tried, a serio-comic character study in eccentricity. This slight but sweet 1999 film, a late career highlight of James Earl Jones, Lynn Redgrave and Margot Kidder, all of whom have since died, is the UCLA-trained Burnett’s How to Make an Indie Film primer to the generations of filmmakers that follow him.

Get a script with wildly colorful older characters, roles with range and good dialogue that shows they have something to say. Pitch it to under-employed older actors with names still big enough that they will get the movie financed. That approach got “Annihilation” financed and filmed, although few got a chance to see it when it was finished.

Kino Lorber has restored this film festival darling of the last millenium and given it a limited re-release in cinemas before streaming it so that it might finally find an audience. “Slight” it may be, but it’s well worth a look.

Jones plays Fish, a Jamaican-American retiree who is a handful for any landlord. He’s a sad widower who lacks purpose, he feels. So he “wrassles” a demon almost on a daily basis, creating a ruckus as he shouts and tumbles about on the floor before temporarily vanquishing it by tossing it through a window.

Redgrave is Poinsettia, a San Francisco screwball whose great love is Giocamo Puccini. She swoons in his presence and drowns out performers of his operas as she sings along. She’s tried to marry him, but even in San Francisco, the “groom” must be “corporeal” and not an Italian composer who died in 1924.

These two delusional flakes are destined to connect at the boarding house of a Pasadena fellow traveler. Mrs. Muldroone (Kidder) is a widow obsessed with the spelling of her last name, and with a “weed” her late husband hated but which she cultivates in her immaculately kept garden.

Her “no peculiar habits” question to her prospective tenants isn’t serious. She has a few of her own.

Poinsettia drinks and often passes out in the hallway when she does. Fish gallantly takes her in, and after complaints at the effrontery of that, also noting the “weirdo’s” habit of wrestling with a literal demon, Poinsettia flowers in his presence.

“My loneliness has made me crazy,” she confesses to a card-playing companion who understands and sympathizes with her mania.

“Anybody can see the difference between ‘dead and gone’ and ‘dead and come back,'” he says of her passion for Puccini.

As for himself, Fish might never get over his “wrasslin.” But his daily mantra, delivered in a soft Jamaican patois, may change.

“At your age, why ain’t you dead?”

Lovely Pasadena makes a grand setting for this “Annihilation.” But there’s not much more to this than three lost souls finding comfort in one another, and three accomplished actors — two of them onetime Oscar nominees — sinking their teeth into juicy, colorful eccentrics.

Jones, who experienced a late career revival thanks to theatrical successes and films such as “Field of Dreams,” “A Family Thing” and other roles in the ’80s and ’90s, is in grand form.

Redgrave, decades removed from her “Georgy Girl” breakthrough, similarly had a last hurrah in her as this film and the Oscar nominated “Gods & Monsters” came out the same year.

And Kidder, summoned back from the obscurity that worsened her lifelong mental health issues, was at her best one more time in a film that went unseen when it was new.

Sentiment may be the rest reason to see “The Annihilation of Fish.” But three great performers committing to their parts will always be a pleasure, and the fact that each was beloved by generations makes this dramedy an easy sell for most film buffs.

Rating: R, some sexual content

Cast: James Earl Jones, Lynn Redgrave and Margot Kidder.

Credits: Directed by Charles Burnett, scripted by Anthony C. Winkler. A Kino Lorber re-release.

Running time: 1:48

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Movie Preview: Pedro Pascal in an Action Comedy Anthology — “Freaky Tales”

Ben Mendelson, Normani and Jay Ellis also star in this collection of dark and darkly-funny crime stories set in ’87 Oakland.

Tom Hanks plays a video store owner in this April 4 Lionsgate release.

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Movie (Documentary?) Preview: “Cheech & Chong’s Last Movie”

This looks sweet, a couple of old stoners mending fences and having the last laugh.

It smokes out April 25 (April 30 “previews”), and is basically self-distributed. So maybe it’ll be in a theater near you. Man.

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Movie Review: A Master Mocks Yakuza Hit-Man Movies — “Broken Rage”

Leave it to Beat Takeshi to ridicule the cinematic elephantiasis that has even the Great Scorsese pushing the limits of how long a night out at the movies should last. And that Brady Corbet “Brutalist” guy? Three and a half hours? Who is he kidding?

And trust the often goofy Takeshi Kitano (his real name) to take down a whole genre of Japanese cinema that made him rich and famous — yakuza hitman stories — and do it in 67 minutes, including credits.

With “Broken Rage,” even the title’s a joke, as the director of “Outrage,” and “Outrage Coda” takes a shot at deconstructing the yakuza killer narrative in a self-aware, fourth-wall-breaking farce. He tells us a tidy, dumb geezer-gun-for-hire story, and then spends the second half of the movie lampooning the conventions, set-pieces, character “types” and ways the time-tested-plans of an elderly trigger man can and should go wrong.

The guy “they call Mouse” (Kitano) is a pot-bellied, bowlegged 70something lump who dresses all in black, picks up his assignments in an envelope left by a mysterious “M” at his regular dining spot, the Cafe Lake.

The proprietor (Takashi Nishina) always asks him who “M” is, and the cagey Mouse always answers “I have no idea.”

As you’d expect, thanks to 1467 hitman movies that preceded it, that envelope contains a photo and the routine of the intended mob victim.

So the wily Mouse dons his black jacket, pants and shades and walks right into a club to shoot up a table packed with young punks. He switches coats, adds a cap and pedals off into the night as the oldest delivery boy in Tokyo. Another guy, with bodyguards with him, must be surveiled at the gym and trapped when he strips to just his tattoo’d birthday suit for a dip outside the sauna.

Careful as he might seem, the Mouse is grabbed by the cops, ID’d in a lineup and beaten until he agrees to go undercover to entrap drug smuggling mobsters. How’ll he join the gang?

Simple. The old man will visit a bar a mob leader (Hakuryû) frequents and “handle himself” in a fight an undercover cop picks with him. Just like that, with not so much as a “check him out,” he’s a mob bodyguard, showing off his killer instincts to his new crew while baiting them into a trap.

Kitano skips over a vast collection of conventions and cliches of such movies, skipping past “wiring” Mouse up, etc., to pretty much wrap that tale up in half an hour.

The “joke” to the first half of “Broken Rage” is Beat Takeshi as a past retirement age “hard” man in the Liam, Bruce, Sly, Mel and Denzel mold. Yeah, he’s too old to be that quick, punch that hard and see danger in a dark parking garage at night whilst wearing sunglasses. It’s funny that we let our action heroes “sell” this lie well into their ’70s.

The second half of the film treats us to a counter-narrative where Mouse goes through the same hit-list and same routine, with one disastrous result after another. Even the cafe chairs collapse under him while he’s picking up his envelopes.

The entire deadpan affair is more reasonably amusing than hilarious, but the pauses in the action, with the screen going to black and “users” of this Amazon streaming movie commenting their complants– “That’s it?” “That’s not a movie” and “On this budget, this is what you get” — are laugh out loud funny.

Yes, movies are getting too long as they’re tailored for a home viewing audience used to binge watching streaming series. Yes, every filmmaker is pitching those streamers, or being lured by Amazon, Hulu or Netflix money.

Takeshi gets it. And when he got that Jeff Bezos money to deliver one of his patented serio-comic thrillers, guess who’s actually the butt of his jokes?

Rating: 16+, violence, drug content, nudity

Cast: Beat Takeshi, Hakuryû, Tadanobu Asano. Nao Ômori, Takayuki Asai and Takashi Nishina

Credits: Scripted and directed by Takeshi Kitano, aka “Beat” Takeshi. An MGM/Amazon Prime release.

Running time: 1:07

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