With the recent mainstream indie success of Mumblecore pioneers Joe Swanberg’s Drinking Buddies and Andrew Bujalski’s Computer Chess, it seems the poorly named but important movement has officially come of age. In the mid-2000s, the films and filmmakers broadly lumped into the sometimes pejorative term “Mumblecore”, were often low-budget, low-production value films with non-professional actors navigating the conflicts and relationships of middle-class white male Americans in their late 20s.
Mark and Jay Duplass’ first film, The Puffy Chair, is a quintessential Mumblecore entry. Low-concept, relationship drama-driven, and heavy on the zoom button, the film mixes the unpredictability and reality of a documentary with the character malleability of a narrative in [...]
By now, the cutaway has become a television comedy staple, allowing programs to reveal information, flashback, build on a joke, or direct-address the camera among other options. The cutaway, an abrupt break in continuity editing, (which as mentioned previously here is editing that allows multiple shots to appear as if they are happening continuously on the same spatial and temporal plane) is useful and oft-used in the visual comedy toolkit because it can suddenly subvert the pacing of a scene or add information for a joke or punchline without losing dramatic focus. Seth MacFarlane’s Family Guy has positioned itself as the immediate point of reference when discussing the [...]
Back in a time when our primary source of film-watching outside the movie theatre involved a trip to a video store, it was much harder to be a young boy curious about what might exist beyond the G-rated family comedies we would watch on Sunday nights (my family would do this “picnic style” which meant putting down a dirty blanket in our suburban finished basement, ordering chinese food, and eating on the floor while we watched). One day my parents allowed me to attend a friend’s birthday party where we would be watching Mel Brooks’ R-rated film, Blazing Saddles, perhaps just pleased that we weren’t going to watch one [...]
More than any modern day comedy director, Judd Apatow can be considered an auteur.
Auteur Theory, first written about by Francois Truffaut in the 1950s as a way to show the value of the lesser-respected American Hollywood filmmakers in comparison to the more artistically respected French filmmakers (later popularized by American critic Andrew Sarris), states that the director is the primary artistic visionary behind a film and that a consistency in his vision over a series of projects proves greatness.
In the most basic sense, Apatow falls under this definition not only because he's created a visual style that is distinctly his own and consistent throughout his directorial efforts, but [...]