Hyperbole, Academia, Date Rape and The Dark Knight: The Internet’s Response to Observe and Report

It seems as though everybody who’s anybody in the movie blog-o-sphere is talking about Jody Hill’s new ‘edgy’ comedy hit(?) Observe & Report. Hot off the heels of a successful first season of HBO’s Eastbound & Down, Hill and his crew of regulars (Danny McBride, Ben Best and Tim Orr (longtime cinematographer of David Gordon Green)) are now pushing their unlikeable, unredeemable characters into the mainstream and the results are definitely interesting. On one hand, the internet is abuzz with hyperbolic expressions of praise; reminding me of the debate surrounding The Dark Knight’s worth as a cinematic ‘classic’. On the other hand, some folks just aren’t laughing. Is that really surprising though?
I remember when The Dark Knight came out last year and there was a massive butting of heads over whether or not the film was truly a ‘masterpiece’. While some people compared Nolan’s film to ‘Heat’ and ‘The Godfather’, the more skeptical viewers tried their best to drag its overzealous supporters back down to reality, reminding them that it’s just a comic book movie. The question was; Is The Dark Knight truly a great film or is it simply great in comparison to the other comic book films that came before it? It seems to me that Observe & Report is going through much of the same reaction, only the sides are reversed. It seems cynical audiences are now the ones spouting out the hyperbole in support of what some (Hunter Stephenson of /Film) claim to be ‘A contender for best film of 2009′. While I agree that it was a great film, I certainly don’t buy into some of the extreme, misguided praise it has been receiving.
The critical response to Observe and Report is pretty much as expected. A comedy featuring a main character that isn’t immediately likeable and has no redeemable qualities is bound to split audiences right in half. There’s a certain formula that most people expect from a modern comedy, and a likeable lead character is definitely a part of that formula. Putting Seth Rogen up front may have been a good choice financially, but has posed a critical risk. People will either respond as they have to Rogen’s past brand of comedy, or the despicable nature of his character will be amplified based on the fact that the typically likeable actor is going for something to completely different. A prime example? The ‘date rape’ scene. A quote from Femenisting.com (via The Huffington Post) :
“It’s not funny Seth. First of all, one out of six women in this country is sexually assaulted in her lifetime. Which means a whole lot of your bromen are confused about what consensual sex is. Is the laugh you get worth making them even more confused? Basically giving them permission from one of the most adored dudes of the moment to not take rape seriously? Yeah, we didn’t think so.”
When the femenists start accusing the beloved Seth Rogen of giving ‘Bromen’ permission to rape, it’s not hard to understand why critical praise for this film is split. Would the response be different if Danny McBride were cast in the lead? Probably. People are reacting aggressively to the against-type casting of Rogen — who’s popularity is probably at its peak — and it’s clearly reflected in the numbers (O&S is currently sitting at 52% on Rotten Tomatoes). So again, the critical response to O&S is both predictable and expected. It’s the bloggers that are of interest here.
After posing the question ‘Is Observe and Report a Classic in the Making?’ last October, Chud’s Devin Faraci admitted in his review that he’s “…not dumb enough to think that this movie is for everyone; there will be people who simply won’t understand why other folks are so desperately in love with it.†A sentiment proven by John Campea’s (The Movie Blog) two line Facebook status “reviewâ€: “John Campea can’t believe how completely horrible “Observe and Report” is. Just total garbage. Not one laugh. Just plain stupid. Avoid at all costs.†I was hoping for some elaboration on the actual website but there wasn’t a review to be found. The Movie Blog is, once again, late to the party on this one. Which is too bad considering Campea’s response to the film would make a great antithetical addition to this piece. Although to be honest, I feel the extremely negative reaction is more sensational than analytical. On the opposite end of the spectrum, /Film seems to have picked up their slack with a FUCKING LONG review/essay on Jody Hill, Observe and Report and the ‘glass brain girls’ who work at cosmetic counters.
Hunter’s post starts with a pretty strong (and to some, controversial) statement; he now anticipates Jody Hill’s films “more than any other working filmmaker with the exception of Paul Thomas Anderson.†The crazy thing is I don’t get the sense that this is merely debate bait. He’s serious. That’s totally cool. Opinions are like assholes on the internet; everybody is one. Unfortunately, things get ugly quick with a piece that I assume was intended to be an intelligent and bitingly witty analysis of both the ‘typical moviegoer’ (To which I say; Alienation isn’t just a TV show/movie from the 80’s) and America, only to fall completely flat on his own face. An embarrassingly snooty piece of writing that can only be described as the truest definition of pretention; making usually unjustified or excessive claims (in regards to Jody Hill’s film), and unwarranted, or exaggerated importance, worth, or stature (in regards to his own writing).
“There’s a faux-controversy over whether Ronnie rapes her. Whatever. I can’t wait to see what their kid looks like. It’s going to look like America.â€
Fucking gag me. Seriously. If anyone wonders why I’ve expressed aggression towards academia, look no further.
“Generally speaking, there are two types of people, and as it lies, two types of moviegoers: Those who go to malls without a second thought and those who go into them only on the rarest of occasions, sucking on an imaginary Klonopin, those who walk around wondering how the fuck this and they and that sign came to be, pregnant with the speeding notion that a loon might as well destroy the entire fucking building or at least high-jack the “raffle car,†peel out through the entrance doors, and drive on to a fabled body of water.â€
I worked at a mall for three years. I wonder what type of movie-goer that makes me? If this isn’t meant to be literal, it certainly isn’t literary.
“Are the glass-brain girls who work in Cosmetics actually real or do they render like trees in a perfectly waxed forest before your eyes? Over the last decade, many an American can ask a similar question of all the Wal-Marts that have risen like monoliths of national decline. Of the herds of obese Christian girls wearing Crocs further inflated by shopping bags at their sides. Of 50-year-old, wine sipping CNN and Fox News junkies formerly known as parents, done in by a long stretch of financial hardship and still a shorter stretch yet. Suze Orman says mwah. Of oh-so-many “movies†coming out of Hollywood. After experiencing the horror of the last nine years, Joe Viewer can get away with asking this question of reality, especially if he watched 9/11 go down inside a college dorm that he’ll spend the next 40 years paying off, possibly without health insurance.â€
In direct response, I’ll pull out a favourite, and appropriate, quote I’ve used previously on this site:
“Academia is the death of cinema. It is the very opposite of passion. Film is not the art of scholars, but of illiterates.” — Werner Herzog
I don’t mean to pick on Hunter specifically or personally (only his writing), but the reason I bring up this example is because this sort of bloated, over-analysis and misplaced sense of importance (Hill’s “amazing and important second film” according to /Film) that threatens to undercut the film’s ultimate achievement; making people laugh while challenging mainstream formula. This isn’t rocket science. Jody Hill didn’t invent the anti-hero. In fact, within his small body of work, he’s already fallen into a formula of his own. Put The Foot Fist Way, Eastbound and Down and Observer & Report back to back and the recipe reveals itself; borderline sociopath, suffering from delusions of grandeur, attempts to convince those around them (and themsevles) of their worth. That’s it! And you know what? I love it! I’ve enjoyed every single film/show he’s released. But I’m not going to kid myself into thinking this is Taxi Driver 2. If I want a serious brand of biting satire and extreme darkness, I’ll watch a Todd Solondz film. Hell, even Borat – and the upcoming Bruno – are more worthy of the title of ‘most darkly astute mainstream comdey’. But it’s not me who’s holding Observe and Report up to these standards.
Here’s the thing; for me, a truly edgy and powerful dark comedy deals with situations and subjects that a large portion of its audience might relate to. Who really watches Observe and Report and relates to Ronnie? Disturbed people. That’s about it. This is exactly the reason why a date rape scene can exist in this film. You are not supposed to relate to Ronnie, you are supposed to pity him. You are watching a man slowly lose his shit. This isn’t something that speaks to people on a grand scale. Sure, lots of people lose their temper, but can you really say that you relate to the heroin scene? The shooting? The delusional nature of Ronnie’s character? His detachment from reality? Not likely. If this film is holding a mirror up to society, it’s a pretty small fucking mirror. On the other hand, how many people watch Borat and mistakenly interpret the satirical humour as sincere, laughing along at the Jew jokes? How many people do you think left that film saying ‘I know people like that’ or ‘Fuck that ay-rab’ or ‘THAT is America’? How many people can watch Todd Solondz ‘Happiness’ and relate to the relationship between the Father and son? Or the girl who’s constantly shit on by the people around her? Put this up against the relationship between Ronnie and his Mother, and it’s apples and oranges. The fact that I even have to compare the films is completely unfair to Observe and Report. People are placing a pretty massive agenda on the shoulders of this film (and Jody Hill) and I think when it comes to this brand of humour, it’s not doing the filmmakers any favours.
If the Nolan fanboys couldn’t protest the disclusion of The Dark Knight for best picture without a browbeating, then the pseudo-intellectuals pumping the fuck out of Observe and Report should get theirs too. Again, to be clear, I really do enjoy Jody Hill’s work. I’m a big fan of that entire North Carolina crew, and I think they’re really giving us some interesting characters to injest. It will be interesting to see if the tone of these films influences the output of mainstream comedies in the future. I can’t wait to see what those films look like. THEY’RE GOING TO LOOK LIKE AMERICA.




































































