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  • Issue of
  • Jul 19-25, 2006
  • Vol. 26, No. 40

News & Views

Arts & Culture

  • The Scene
  • You, Me and Dupree

    This bargain-basement The Man Who Came to Dinner exposes a lot of Wilson’s bare ass while he stinks up the bathrooms, jerks off in the living room and sets the couple’s home on fire. Yet it doesn’t give away all its laughs in the trailers (though it probably couldn’t; the very funny masturbation scene and its aftermath never would have made it past the preview police) and Michael Le Sieur’s script doesn’t meander down predictable paths. After all, it’s not every situation comedy that weaves in elements of obsessive paranoia.
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  • The Scene
  • Little Man

    In "Little Man," which Shawn and Marlon wrote and star in and Keenen directs, the brothers rip off a classic Bugs Bunny plot: an ill-tempered little person pretends to be a baby to get away after a robbery. This time, it’s a jewelry heist, and the little person, Calvin, puts himself on the doorstep of an unsuspecting couple, angling to retrieve the jewel he stashed in the woman’s handbag. Marlon plays Calvin; his head is superimposed on a dwarf’s body, and not with great finesse. Baby Calvin has to be the homeliest little thing you’ve ever laid eyes on. He’s such an ugly kid his face would curdle breast-milk. Babies make great fodder for bodily function humor, what with diapers and breasts readily accessible. The brothers miss no opportunities for little Calvin to ogle, fondle and rub his face in every set of ta-tas that pass him by. Throw in a half dozen kicks in the crotch, and you pretty much have the whole movie.
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  • The Scene
  • Leonard Cohen I’m Your Man

    Though he may forever be in the shadow of Bob Dylan, Leonard Cohen’s haunting, trademark voice and intensely personal lyrics have earned him a devoted following. Cohen’s crusty commentary is often amusing and his insights fascinating, though his constant self-deprecation and humility are taken to such extremes that it starts to come off as ego in disguise. Cohen’s slow, rumbling baritone would already be hard enough to decipher if director Lian Lunson didn’t insist on loading the sound track with reverb, overdubs and other layers of digital murk and heavy-handed visuals.
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