Sound On Sight Radio #107 – Adventureland

107

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Welcome to the house Apatow built – the comedic landscape forged by director/writer/producer Judd Apatow, who in a few short years went from a pop-culture reject (with two quickly-cancelled TV series and a flopped film to his name) to Hollywood’s most consistently successful – and well-received – purveyor of comedy. His reign of terror / laughter began in proper when he directed the smash hit The 40-Year-Old Virgin, then things got really busy in 2007 with the teen sex romp Superbad and Apatow’s second directorial job, Knocked Up. This year, things get complicated. Greg Mottola, who directed Superbad, launches his debut as a writer-director in Adventureland. Paul Rudd and Jason Segel, both Apatow familiars, costar in I Love You, Man. Neither movie has Apatow on board – is his golden touch really as important as it’s made out to be? Here to help us ponder this by looking at these two new films as well as touching on Superbad and Forgetting Sarah Marshall is recurring guest Derek Gladu. All this and more on this episode of Sound on Sight.

Categories: Podcasts Season 3, Sound On Sight Radio
Tags: Adventureland, Bill Hader, Forgetting Sarah Marshall, Greg Motolla, I Love You Man, Jason Eisenberg, Jason Segel, Jonah Hill, Judd Apatow, Michael Cera, Paul Rudd, Russell Brand, Ryan Reynolds, Seth Rogen, Superbad

Mathew Hills says:

March 31, 2009 at 9:09 am

I agree. These films are amongst the best comedies I have seen in about ten years. I am glad Rick defended the films and I actually think that Greg Mottola is a better director than Alexander Payne. Hr might not have the better screenplays but he does a better job in getting the best out of his cast. I can’t wait for Observe and Report and I hope you guys review it. Personally I think you should review more comedies.

Paolo says:

March 31, 2009 at 5:41 am

Hi guys,

First of all, thanks for your reviews. I have only wacthed Superbad and Forgetting Sarah Marshall and I find myself along Rick’s lines most of the times.

I must say Simons’s (forgive me if I’ve got your names wrong) over-analytical perspective on these comedies does not do them any justice and and puts them out of context: forget about Godard once in a while.

I found Forgetting Sarah Marshall’s first 20 minutes very ‘refreshing’ (you love that word) and innovative, especially the approach to male nudity during the break up scene. I was sold after that.

As to Superbad, I simply love its mix of innocence and grossness.

Thanks
Paolo