Friday, October 25, 2013

<i>Jackass Presents: Bad Grandpa</i> Exposes the Inherent Phoniness of "Raunchy Comedies"

Posted By on Fri, Oct 25, 2013 at 11:54 AM

Jackass Presents Bad Grandpa Johnny Knoxville
Jackass Presents: Bad Grandpa: The Jackass series has always doubled as found performance-art, especially when blown up to the big screen for a cinematic trilogy that differs from its TV predecessors mainly in what can be shown in an R-rated movie versus what can be shown on MTV (and how much can be spent on a theatrical release versus a weekly TV series). Bad Grandpa is a Jackass spinoff that more closely resembles an actual movie, spinning one of those performances into a comic narrative.

Jackass isn't known for its character work, but some of its pranks and stunts have involved Johnny Knoxville and Spike Jonze dressing up in old-people drag for purposes of mischief. Apparently Bad Grandpa shot some scenes with Jonze (who also produced and cowrote the film) in his old-lady garb, along with Catherine Keener (!), but they were cut for time, leaving old Irving Zisman (Knoxville) immediately widowed, and giddy over his newfound freedom. But soon Irving is saddled with Billy (Jackson Nicoll), his eight-year-old grandson, and tasked with bringing him across the country to stay with his degenerate father. The pair bond over their wacky adventures, etc.

It sounds like typical raunchy comedy stuff, only the big set pieces, along with plenty of small set pieces, are filmed Jackass-style—as hidden-camera pranks on unsuspecting civilians. To some extent, this challenges typical comedic grammar: where a fully fictional comedy might have inserted cheesy reaction shots, Bad Grandpa offers real-life reactions to Irving hitting on women, trying to mail his grandson away, or shoplifting from a grocery store, running the gamut from open-mouthed horror to anger to quiet mortification. Knoxville, Jonze, and their director/collaborator Jeff Tremaine disguise the bad behavior of so many hard-R comedies as actual behavior, and in doing so—intentionally or not—call attention to the phoniness of the subgenre.

That's not to say Jackass: Bad Grandpa is devoid of phoniness itself. Zisman, as a character, modulates (depending on the scene) from full-on inappropriateness to straight talk, an old man who knows best. But while the occasional semi-scripted banter between Knoxville and Nicoll is gentle by Jackass standards—Nicoll, of the year-ago Nickelodeon bomb Fun Size, has an unaffected weirdo sweetness—it doesn't earn its feints at sweetness. Knoxville, as engaging as he is, only goes latex-deep in imagining Zisman; he's not as ingrained as Sacha Baron Cohen's Borat or Bruno. The sketches actually string together a bit better than Cohen's movies (even the full-fiction The Dictator, funny as it often was, was weirdly careless), but Bad Grandpa also lacks Cohen's satirical edge, maybe because Zisman secretly represents a vision of Knoxville himself as an old man: crankier, but still out for some mischief. In the end, that's all Bad Grandpa really is, and some of the best moments, including a climactic kid beauty-pageant, has been spoiled to death by trailers. But if it sticks around in theaters past its quick-kill opening weekend bonanza, it might make a nice comic chaser to Nebraska in a couple of weeks.

The Counselor Cameron Diaz Javier Bardem
The Counselor: Though it's directed by poor man's auteur Ridley Scott, The Counselor has garnered more attention for its original Cormac McCarthy screenplay, first of its kind technically if probably not thematically. Fox seemed cagey about showing this movie to the press; its main screening was pitted directly against Bad Grandpa's this week, so I had to choose one or the other. I didn't avoid The Counselor out of indifference to Ridley Scott, because while I do have said indifference, I liked Prometheus more than (a) almost anyone I know and (b) almost any other Ridley Scott movie of the past 25 years (save Matchstick Men). No, I decided to save The Counselor, starring Michael Fassbender and a mess of other great actors in a McCarthy-sounding story about money and violence and bad decisions, for paid viewing. Once I got wind of some early reactions comparing it to Killing Them Softly in both technique and apparent audience-unfriendliness, this seems like the right call. Now I'm excited actually to see the movie and to find out if it joins the "Cinemascore: F" club, a badge of honor for any non-horror movie that manages it.

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