Written by Josh Collins and Steven G. Michael with Collins directing, Fags in the Fast Lane is a low-brow, tongue-in-cheek comedy that goes for a style and universe that would make John Waters proud. The humor and the story are in your face, over the top with just about everything and the glittery kitchen sink thrown at the viewer. The story is one that includes something to shock or offend everyone. The trashploitation sub-genre is well represented here and viewers who won’t have been stopped by the film’s title should find something to have fun with here.
I remember a time where it was nearly impossible to get a film like “Fags” made, but now we’re in a glorious time where the LGBT community is allowed to be fun and unleash their creative visions. “Fags in the Fast Lane” is Andy Warhol, John Waters, Russ Meyers, and a dash of Frank Henenlotter thrown in to a blender and given some pretty fun tweaks here and there allowing Josh Collins and writer Steven G. Michael to go as far out there as he wants. Thankfully he never loses track of the narrative or the film’s genuinely weird sense of humor once. “Fags” is a very LGBT aimed action comedy but it also has an admirable sense of self-awareness always looking for any reason to poke fun at itself.
Mars Roberge’s comedy is “Office Space” with a bit of “Fear and Loathing” with a dash of mumblecore thrown in for good measure. It’s definitely rough around the edges, but it’s also a movie that I had a good time with. The movie just drips charisma and enthusiasm and Roberge creates a comedy that’s filled to the brim with eccentric characters and a ton of sub-plots. While it wasn’t always easy to follow, Robrerge is able to derive a lot of fun moments from his entire cast.
BOOTLEG FILES 621: “Myrt and Marge” (1933 feature film with the Three Stooges).
LAST SEEN: It is on YouTube.
AMERICAN HOME VIDEO: None.
REASON FOR BOOTLEG STATUS: It fell through the cracks.
CHANCES OF SEEING A COMMERCIAL DVD RELEASE: Possible, but not likely.
Fans of the Coen Brothers may recall a scene from “O Brother, Where Art Thou” where the central characters pause from their shenanigans to watch a corny musical movie. The film within the film was a 1933 musical comedy called “Myrt and Marge,” though most people would probably not have recognized it. So why did the Coen Brothers pick this, of all films? Well, it was because the Three Stooges were in that film, but due to rights clearance issues to the Stooges’ imagery the Coens could not use their footage – thus, they were forced to use a non-Stooges segment from that flick.
For the most part, “Popstar” is a funny and often raucous satire of the pop star life and modern music business. A mix of “This is Spinal Tap” and “Zoolander,” Andy Samberg creates an engaging enough character to where we want to see where he ends up in the finale. The problem with the film is it completely loses steam in the final half hour, leading up to the big performance. The writers spend a good portion of time anxiously trying to keep the momentum from the first hour.
I vividly remember watching “Rockin’ with the Chipmunks”back in the very early nineties where I recall loving the scenes of Alvin dancing along with Michael Jackson to “Beat It” and “Smooth Criminal.” Mostly a cash grab for the fans, “Rockin with the Chipmunks” is a brief history of the novelty group, spliced in with comedy skits and the members singing vintage rock and roll in their modern animation. The animation for the most part is dicey and fuzzy at best, allowing for a hazy series of music videos, but back then if you were a Chipmunks fanatic, you didn’t care.
The only reason to watch “Go, Johnny, Go!” is if you want to see some of the best rock and roll artists of all time do their thing on the big screen. Other than that, “Go, Johnny, Go!” is the story of the boring, milquetoast Johnny Melody, a bright eyed, blond white boy who rose from the slums as an orphan to become a rock and roll singer. It’s surprising that a movie featuring Ritchie Valens, and Chuck Berry would only focus on the most uninteresting individual, as when the movie stops to spread its paper thin premise with performances, it ironically becomes worth sitting through.
Originally airing on December 14, 1952 for the Colgate Comedy Hour, Abbott and Costello get to celebrate Christmas with the viewing audience and have a raucous time doing so. As with all Abbott and Costello comedy, the show moves at a rapid fire pace with consummate professionals Bud Abbott and Lou Costello having an impossible time staying still and taking a breather. Despite some segues here and there which were very typical of variety shows in the height of their popularity (there’s a wonderful dance routine by the Nicholas Brothers). Lou Costello is brilliant at reaction shots and double takes, and Bud Abbot is a wonderful straight man and foil. Also like skilled comedians, they make the best out of flubs.