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Reviews
Prisoners of the Ghostland (2021)
You got Nic Cage + Gonzo = What More Do You Need
Yeah you're taking this way too seriously. Stand back. It's a bunch of Nic Cage kicking ass, what more do you want from him? Seriously. Stand back. It's samurai plus awesomeness. It's a b movie. Stand back.
Oh yah, real review. Stand back.
Grandma's Boy (2006)
Misunderstood because we don't all smoke weed
Just watch it, it's hilarious. Smoke weed. Cult classic. Makes me miss my grandma. Yours is missing too.
Trek: The Movie (2018)
YOU'LL GET IT IF YOU'RE LDS
This isn't supposed to be too serious, nor too preachy- and it succeeded in making a fine balance that clearly strives to include non-LDS peeps, while still making a film for our culture and people. It's also the funniest film by LDS people since Napoleon Dynamite, though I'm not comparing the two in terms of quality. It does better than most LDS films by better illuminating that there are very many different kinds of LDS people going through very different stages and angles of belief, which is critical for anyone intending to understand us- we come in both spiritual and non-spiritual types, in varying degrees of righteousness; but instead of having this come across like some kind of shocking revelation, the film deftly uses it to create much of its comedy.
And that's what this is, y'all- first and foremost, it's a comedy; so uptight mormons dissing this because it has a "swear word" in it, or something, can wait review art at a more mature age- because this film was more brave in portraying people as they are, and came across as having a more truly spiritual feeling because of it. I am surprised at how many non-preachy spiritual moments and lessons they were able to get into this, without it throwing the vibe into pretense- and it's because people need to learn truth slowly, and what they need from LDS people as much as anything is our hilarious example of happiness (we, the LDS people, clearly stand out as peculiar in all the best ways throughout the film- without apologizing, or trying too hard - to where I felt like everyone really should see this just for its anachronistic wisdom) and yet, because it really is at it's heart a comedy, I was surprised at how completely surreal and stagey and hilarious some of the jokes and characters were without steering it right out of reality. Somehow it comes across as our world, but full of larger than life characters- which is exactly the balance that The Church aims to produce.
Simply put, it's a gem that deserves to be seen. It's small, but way worth seeking out. Some of the characters were so funny that you could just tell that this would have been a bigger film if it had arrived at a more pure time in history- and yet, it's rarity makes it valuable; and it is also easily worth studying in film class as an example of how to make something clean accessible.
It's funny, warm, and spiritual- probably a true 8-9 out of 10, for me; but it gets extra credit for being so valuable- and for helping keep modern, cooler LDS filmmaking alive and well.
I Feel Pretty (2018)
I hope these filmmakers stay confident
Forget the haters on this one, FOR SURE. The so-called "controversy" surrounding this excellent film is one of the clearer indications of fake reviews, political brain damage, the rise of delusion-level faultfinding, the attack on women, our level of exhaustion, and why you don't review a film you've only seen when you were too hammered to understand it. This film is too profound - and waltzes gracefully near too many hypersensitivities - to be understood by eyes of hatred and prejudice. Just compare the clarity of thought of those who liked this, to those who wouldn't.
This is like "Wonder" for women, and to try to slap that kind of gift from their hands - and yours - is so far beyond cruel that is becomes despicable. Not at all just for the ladies, this film also perfectly well applies to anyone, and is more effective than most therapies in its ability to get inside of your head and instantly fix it- just about exactly like what it portrays; but I guess not everyone is trying to move in that direction.
The beautiful and hilarious Amy Schumer is flat-out perfect for the role, and then goes on to totally nail it to the ground. Her triple-level of performance detail, her realness (and her Jewishness) probably scares a lot of Hollywood - as that (f)art factory is part of the problem that the film addresses, and they would have to change their ways to get on board with this great, big bucket of truth. It had cutting edge comedy, great cinematography, fantastic acting, boundary-pushing themes, excellent use of soundtrack, judgment-crushing love, and one of the better tours through New York in the last 10 years or more. It's classy, super fun, and if it had come out just a few years ago people wouldn't have been out of touch in their reaction to it. It is not the same as Shallow Hal, The Enchanted Cottage, 13 Going On 30, or any of the other films it is being wrongly compared to- other than it is about transformations, which makes it so that haters might as well tack on The Howling as well. Evil looks so stupid when it outright fights good things, and all this suspicious negativity will do is faster grant this film the cult status that it would have hard-earned anyway.
Thank you SO MUCH, filmmakers - and you, Amy - for making this phenomenal gift to people who are still trying. You really lifted me and millions of people all the way up. As I said up top, I hope that you keep a tight grip on the heavenly message you shared with us, and stay confident in the face of the very evils you identified. THANK YOU!!! :)
Jonah Hex (2010)
Jonah Hex Isn't the best Movie Ever Made, and Don't You Dare Call Him That
This will be the first time that I will admit that I sometimes give a film a 10 just to even out some wronging of the film in a similar way done prior to my rating. Jonah Hex got robbed. First of all, withe the cast what it is, it could never go that far from worthwhile- I tend to think that it will be one of those films that is loved later, when it starts coming on on Saturday afternoons. And it will, simply because it's so pulpy and clean at the same time. And no, it doesn't suck.
Jonah Hex is based of of a comic book- critics need to have that tattooed across their forehead before they go in; and everyone needs to be reminded that just because it hits close to some current issues- it's simply from another time, one that matches ours too well for people to think that it isn't an intentional symbolization done by the writers. It's one the clear examples of people taking a film the wrong way simply because it reminded them too much of themselves. And the parallel between the Confederate States and any other American that's talked too much crap about their own country, has got to have a lot of people uncomfortable in the theater.
But that's why it comes again to the second thing that critics should have tattooed across their forehead prior to viewing this film, which is a repetition of the first thing. The reason it's uncomfortable is because crap-talking all too often ends in violence, and no one wants to be remembered as the person who started an avoidable war. The Southern Armies felt stupid, and now some new people are getting the whim that they might as well.
But don't blame the movie, it's based on a comic that goes back to 1972- and would therefore be more likely to have been a statement about Vietnam, from a counter-culture point of view. And so baby boomers and college kids would have their arms all wrapped around this one if it didn't show that avoidable conflicts always begin with crap-talking, and potentially end in violence- even the bloodiest war of all. That hurts the new battle in politics by making it look like maybe the new crap-talk is more like the doofy, militant side of the hippies- rather than the now extinct to exploit peaceful, colorful, naive, and altruistic side of hippie culture. And even if the second reason they can't have their arms around it is because even if they got into being the bad guy- which they can- still, the storyline is about Jonah Hex kicking the trash out of a group trying to destroy the capital.
So basically, Jonah Hex was made into a film way too late. Had it been made before the pre-campaign campaining in American politics during the mid-Aughts, perhaps it wouldn't have touched so many live-wires and tripped into a vertiable crap-talk burial. But it will still be back, on Saturday afternoons; because, as I said, it's good. Even the wooden lines derived from it's comic origin (often mistaken for wooden acting) are written to balance well with the more gentle touches needed in screen writing. It's short and tough, like a pit bull- hits it so hard that you don't even realize how technically PG-13 it is. Everything seems made to match it's graphic novel's vibe, and seems calculated to maintain the spooky, hard-boiled feeling that's as lawless as the South it portrays.
And that's another thing- it's a Southern. On Wikipedia they called it a western, but it's all Southern, baby. And for anyone who knows about Quentin Tarantino's long desire to make a "Southern", some thing he probably thought he invented until Jonah Hex came out- something based on a work in a field he's well versed on, coming from his favorite decade. So I doubt that Tarantino would (have the ability to) make a few phone calls and single- handedly tank Jonah Hex, but for the very reason that it proves what he seemed to think was going to be his own genre has in fact been a genre since the South began as about a 3rd of the original colonies- so it Tarantino probably love/hates it. I've been to the South, and it is a prime place to base a story out of, due to it's turbulent history and retainment of it's finer elements in spite of such.
Anyway, Jonah Hex was an important, however accidental, mirror for us to try to break. But good things don't always break so easy, and Brolin's tough guy of tough guys is human and unique enough to make his mark on us as well as any mark that's been made on him. Point blank, all else aside- this movie was rockin' and ridiculously cool.
Fantastic Mr. Fox (2009)
Wes Anderson's Perfect Transition to the Mainstream, and You Know They Need Him There
Fantastic Mr. Fox is technically one of the very best films ever created. That may sound like an overstatement, but only to those who overlook the few filmmakers out there who are actually advancing the art, the way an art is supposed to be advanced. Wes Anderson is one of those filmmakers, and you can't study film without seeing that his clear, playacting style of film is completely original and making waves in dozens, if not hundreds of young directors. There's a reason why Scorcese called Wes Anderson "the new Scorsese"- being about the biggest compliment Scorcese could give. But up until now, the cause for this compliment has only been demonstrated in a small set of perfectly crafted adult comedies like "Rushmore", "The Royal Tennenbaums", and "The Darjeeling Limited".
Well, at last Wes Anderson has created something that we can all watch together. But what's cooler is that the decision on Mr. Anderson's part to make something for General Audinces doesn't appear at all to be based on caring about that at all, let alone having some Dreamworks-esquire Disney-envy; but upon the fact that– like Walt Disney– Wes Anderson simply has a genuine appreciation of Aesopic storytelling, and is extraordinarily good at both it, and animation. In fact, no one has added as much to the canon on how humanized animals could behave since Disney himself (note Anderson's animals' sudden bursts of raw animalistic behavior when eating and fighting, which serves hilariously to both animalize the characters more, and even build their strengths– while simultaneously satirizing certain human behaviors that can often be, humorously animalistic themselves).
In fact it looks as though all can be glad because– as you'll see a lot of critics saying– if there's anyone who could give Disney a run for their incalculable money, it's Anderson. We're all impressed by Disney– that's why I always hope they have someone keeping them on their toes. But again, taking down Disney does not seem to be one of Anderson's motivations at all. Again, it's his natural, evident love for what he's done here with Fantastic Mr. Fox that makes Mr. Anderson the most likely person to succeed, however incidentally, at creating the next major animation studio with it's own thing going. And he should do exactly that, between live action films.
When successful, center-buzz art-film directors like Wes Anderson get all the more artsy, with full-on stop-motion animation (which, once you quickly get past the initial movement of it with the help of some excellent storytelling, can look more real than the best cgi– because you can feel that it IS real) and the result is mainstream fare, however intentionally limited it's release, I feel like falling over with joy. And how impressive is it that a feature-length, stop-motion animation film– which, being more foreign now, requires stronger storytelling to suspend the audience's disbelief– works as well as a Pixar film; and what does that say about Wes Anderson's storytelling ability?
Now, about the film– I love it when people think that animation is just for kids, so I will tell you that this is more of a family film than a kid's movie; and I'm saying that because everyone will enjoy this film more if they know what they're getting into– i.e. adults should know and not just be surprised by the fact that they are probably the film's intended core audience– because that's cool here. Looney Tunes were the same way. For example, with Mr. Fox, all of the dialogue is very proper and intelligent, and many, many of the situational and subtle humor will be less grappled by kids. It is not, however, dirty. It also involves a hilariously satirical depiction of the use of swearing, wherein the characters will begin to say sentences that overuse the word "cuss", in places where there would normally be even some of the spiciest language, in reality. That being said, I don't know how that can hurt kids any more than public school. And when it comes to how even little children will enjoy what really is advanced entertainment, it's still a bunch of talking animals. They freaking love it.
So while this new style of animating may in a very real way compete with the best, it will do so because it's really nothing like it, especially when compared to how close the other competitors all are to each other. This is not Rudolph the Red-Nosed Reindeer, or A bug's Life, or something in between– because in spite of the fact that the characters are a bunch of talking animals, it's still– in every other way– very different than other cartoons. And if it's slightly more mature than the rest, that's because it's a Wes Anderson take on a Roald Dahl story– and both are noted for mischief, high invention, and the flavour of England.
And Fantastic Mr. Fox, while being a reminder of Wes Anderson's unparalleled auteurism– which includes his firm grasp on Art Direction, Direction, Writing, Story, Costuming, Music, and about twenty other key elements in film– is, perhaps first and foremost, a quintessential reminder of just how truly, truly funny he can be. He's one of the world's greatest humorist, and we wouldn't believe it because we're living in his time. When you really stop and analyze it– all of his trademarks are chosen because of their specific power to accentuate or produce humor– the only exception being that which he implements for the accentuation or production of pure, good, old-fashioned tomfoolery. And if the latter is not for the kids, then nothing is.
I love Wes Anderson's films, and in a very thought-through kind of way, I think that Fantastic Mr. Fox might just be his best one. That is saying about as much about this film as I can say. It's absolutely perfect, and I hope Anderson takes us on this kind of outing again and often.
Bravo, Wes Anderson. You rule.
Valentine's Day (2010)
Simply a Photograph of Love- Eluding Critics and Winning Big
I just wanted to pop in and defend this movie. I think that when you make a film with as many top-billing actors as this film has, you automatically create unconquerable expectations in almost everyone. And I'm not talking about expectations as to whether or not it will be good, but even just what it will be like in the first place.
I don't think that most people who went to review this movie for their magazines and blogs were expecting to see a bunch of very famous actors lining up to pour sugar syrup down their throat. Well that's exactly what they're doing. Real romance is confusing, sweet, harsh, joyful, stupefying, and unique to each couple. And frankly, I don't think that a cynic is going to react well to a film that simply celebrates love in all it's forms. They can't complicate it enough to analyze it with their minds- so it therefore eludes them, and they minimize or even get annoyed by it. This movie is like that couple in love who are staring into each others eyes at the table next to you- and you're either going to adore it, or dislike the contrast that it provides.
For anyone who has ever been in love, I can't recommend this film enough. Not only is it truly hilarious, very well done, full of couple chemistry, totally colorful, considerate, and truly original- it is more than that. It's an important film. It's important because it will really check your pulse and tell you if you can still feel that soft tickle of joy that is innocent love. People with hearts will love this movie, heartless intellectuals will vomit and pass out. It's just that excellent. Note the difference between what critics think of this movie and what audiences think; the audience that I was in seemed to love it. I myself like all sorts of films, and I took this film for what it was trying to do, and ended up loving every minute of it. The only thing that detracted from it at all was how continually disgusted I was in realizing how poorly this film is being treated by critics.
This film is like one big, scented valentine's card tucked into the desk of the world. It's the perfect date movie, not a chick flick, not a cliché- and when you read it, if you really do, you can't help but admit that it hits right on the money. It knows what you expect, knows what people will try to make it, and continually dodges bullets to turn what you know will be a cliché moment into a hilarious surprise. It's delightfully naughty at times, but without going overboard, and it has enough heart, creativity, and life for ten movies of it's kind.
It also crossed my mind that- though the message of the film is very simple, being simply a photograph of love- the arrangement of characters and the actually believable way that they are all connected is a fun juggle, and perhaps too much for the incoherent mind. In that one way, it's a challenging film that might have embarrassed a few critics who didn't expect that and got lost- something you wouldn't want to admit if you pride yourself on intelligence.
I also have to put in a plug for Taylor Swift. I feel truly indignant about how everyone is slamming her performance. I don't know what they are talking about. I'm an actor, a filmmaker, and a connoisseur- and I can tell you that Swift's performance was perfectly silly, hilarious, and awesome. It's extremely brave for a multi-grammy award winning superstar who has nothing to prove to get crazy and play a total ditz, when most people in her shoes would have stayed way inside the safe zone. She is NOT a bad actor, she is playing a caricature of a standard valley girl- and taking it as far as it can go. She was freaking funny.
Everyone else, of course, was right on par. Jamie Foxx was especially good, Jessica Biel is magnetic, Jennifer Garner always converts you, and Ashton Kutcher carries his larger role with classic Kutcher ease. And I've heard of people calling Jessica Alba miscast, but if you look at where the filmmakers end her character up at, it is typical of how they defy your expectations with almost every part of this film. Everything except the happy endings, with which it is defiantly adamant about including.
So, if you've ever been in love, I highly recommend this film. It's exceptional. And if you've never been in love, alone- but still believe in it- this is it. Relationships get a lot more complicated, but what brings us together is too simple for words, and can only be described with repeated viewings from every angle, a'la this film: THE Valentine's Day movie, case closed.
So like it or not, it was born a huge film, and cannot be stopped- it was packed at every showing the night I saw it- real people love it, and it's here to stay. Expect to see it on television every Valentine's Day, suckas. This movie will work it's magic on cynics in a long, warm hug- wearing a baby nap to catch the spit up.
The Invention of Lying (2009)
An Excellent, Surrealist Comedy With Classic Moments To Spare
Every once in a while, Hollywood makes an art film. The Invention of Lying is based around a core film concept that is so strong and potent that I doubt that anyone could have made it reach it's full potential. So instead of going too heavy on their message, the filmmakers- which include the film's star, Ricky Gervais (the most brilliant British import since Monty Python)- allow the film to focus on a more simple plot overall. Love.
I believe this to be a wise move, because the film's original universe is already so dizzyingly thought provoking that if the film didn't strive to create a heart that's bigger than it's enormous head, it might have toppled over. Filled with an intense onslaught of joke-filled sentences, there is really never a moment in this film that doesn't end up being profound. And because of the stark uniqueness of story, and the general love that everyone has for Ricky Gervais' machine gun-like comedy, it appears that half of the people in Hollywood were lining up for a cameo in this film- producing some of the best cameos ever given, especially on the part of Edward Norton, Philip Seymour Hoffman, Jason Bateman, etc. As well, Rob Lowe is only getting better and Jennifer Garner is perfectly chosen for her part.
Also, not afraid to touch heavily onto even the most heavy subjects, The Invention of Lying is not exactly the guilty pleasure that I thought it was going to be. In fact, it has in incredibly solid spiritual core- something that most films are never brave enough to offer, and which surely can be credited as the likely reason for any critic to try to bring down the film. And yet, like Monty Python, Gervais knows that while dancing upon taboo subjects will prepare audiences for the greatest relief laughs, in order for them to work you never truly offend, or the relief is lost. Also, it's very best moments are drawn from this bravery, and the scene in the hospital room goes down as one of the top 100 moments in cinema.
In fine, this wonderful American comedy with a British soul walks an incredible line around the world that it's created. It has so much to offer, and is such an original creation that it defies comparison and therefore can only be given the highest honors in comedy. I would honestly compare it to The Truman Show, Idiocracy, and Eternal Sunshine of the Spotless Mind in terms of greatness of concept, but add a nice layer of frosting on top for sweetness.
Keep it coming, Mr. Gervais. This is a great movie, and that's no lie.
The Fourth Kind (2009)
If You're Going To See It, See It Soon
I just got back from a sneak preview of this, and I have to say that from a film-making perspective, this movie is really pretty impressive. It has a newschool rendering on everything from the colors, to the editing, to the way that everything is presented to you. It'll be copied a lot in a couple ways (note the new take on split-screens, dual character portrayals, and on having the opening credits continue throughout the film). It's also genuinely horrifying at certain points- taking some moments up to an 11 the way that very few films have accomplished. If you want to be scared, I do recommend seeing this movie.
That being said, I have to knock a few points off because of one plot hole, a couple of wooden actors, one tasteless inclusion, the fact that it's really not doing much to improve society, and because it's really not a film so much as a viral firework made to capitalize on it's initial few weeks in the theaters. Whether it's true or not, its producers probably know that people will end up categorizing it in the same category as the Blair Witch Project- which they will.
So while these types of ultra-realistic movies get into our heads by contemporary means- and may require adult diapers for viewing- they really, in my opinion, can't be categorized in the same league as a films that get into our heads and make us forget that we're watching a movie without looking like a home video or a documentary. Some of the funniest and most worthwhile movies are mockumentaries and false documentaries- but I suppose that this is a good point to introduce my theory on how there are films, and then there a movies. This is a movie. Effective entertainment, but I couldn't really classify it as art- and I reserve my higher ratings for such.
I don't want to be a killbuzz though, by making you think that this movie isn't worthwhile for some- I was just explaining my rating. For what it is, it's highly effective in what it's trying to do. It also deserves to be seen on the big screen, for effect- and for it's awesome sound work; and as I mentioned in the title of my review, if you're going to see it, see it soon, because it's inevitable that people will start trying to discredit the supposed truthfulness of it immediately- as is human nature when something far out there, claiming to be the truth, is published. And seeing it without knowing anything about it- as to whether it's true or not- will help you to suspend your disbelief and maximize the intended effects.
Which are wet-your-pants scary at times.
Gentlemen Broncos (2009)
An Instant Classic That Is Much More Than The Sum Of Its Parts
I saw this movie last night at a sneak preview in Jared Hess' home city. It totally ruled. It was full of laugh-out-loud scenes, with comedy on every level, excellent performances, and a sneaky plot that Scorsese would have been proud of. Everyone in the audience seemed to love it, lingering to cite scenes to each other long after the film was over. Even the press seemed genuinely giddy to be there.
Everyone who follows comedy knows what a big hit Napoleon Dynamite was, and although Nacho Libre was extremely funny, it lacked some of the kitschy style that made Napoleon more than just a comedy. Gentlemen Broncos seems to be the calculated result of a wise decision to return to form. If Napoleon Dynamite has nerds, Gentlemen Broncos has Supernerds; if Napoleon Dynamite has touches of the 70's and 80's, Gentlemen Broncos has dropped you off and left you there.
Like the best Wes Anderson films, Hess has the ability to identify and isolate a lovably weird segment of our society and walk right on that line for the duration of his films. In this case, it's the soul-drying, bad sci-fi stories that I used to see when I was a kid but don't anymore. The lone, laser-gun-wielding hero standing on a world with three moons and a tight, lit-up grid pattern for ground; the farming space station that's been overrun by cyborg apes; the space worm; etc. The kind of bad stories that couldn't even merit a hardback release, let alone a movie– and now can't even be found new. Capturing that odd energy and riffing a clear story on top of it earns Hess bonus points right off the bat.
He also has a gift for making good actors great at being bad, on purpose. Mike White has never been even nearly as hilarious as he was in this film (watch out for snakes), Jennifer Coolidge was in top form (as usual), and Sam Rockwell got all the way on board with a career burning phoenix of comedy that covered the polar ends of the spectrum. And because Hess pays special attention to each character, Hector Jiminez and Halley Feiffer are given equal opportunity to steal the show, and turn hilarious performances.
Now let's start a new paragraph. Shame on whoever dissed this movie before I had a chance to get here– you shall fall into the pit which you dig, because you seem to have forgotten one important detail: Jemaine Clement is in this movie. You can't give anything with Jemaine Clement in it one freakin' star. It's against the laws of physics. And when people see that you've done that, they'll only question whether you really even saw this movie at all. One of the funniest people alive, Jemaine Clement (of Flight of the Conchords) reproves his very real character-acting abilities, swanning over the film in full form as a tightly wound, bad-jeans-wearing, writer-bearded egomaniac who is so cheesy that you can smell the leather conditioner coming out of the screen. He was the obvious heir to the throne, for the whole show, and turns in what I think is his best performance so far, by far- which is really far. He's a full-blown comedic genius, and still seems to have been able to go even further under the direction of Jared Hess.
But the real satisfaction ends up coming from Hess knowing to place Michael Angarano right up front to show everyone what he can do. Clement is no surprise, when his greatness comes through- that's just normal. But to watch Angarano hang ten on his own terms, through his own scenes, was magnificent.
I caught Michael Angarano in several films, starting with Seabiscuit. But it was in the family favorite "Sky High" that I noticed how well he was starting to do subtle comedy as a farce's underdog, a'la Ben Stiller. Apparently Hess noticed him long before that, and was able to capitalize on Angarano's rising talent, to have it perfectly coincide with Gentlemen Broncos. He builds up the pain in Angarano's character so smoothly and steadily, that when he finally explodes it's about as pressured as Travis the Taxi Driver. Except replace the mohawk with a woman's clownsuit dress and the gun with a bean pillow in the shape of a blonde, mustached tranny. And throughout the wind-up, Michael Angarano plays everything to a tee, walking brow-first above bloodshot eyes, seeming to be struggling to keep down his own intestines at the sight of the limitless tragedies that are happening to him throughout the bulk of the film. He's so likable and well-paced that you just can't believe it either, and can't imagine anything getting any better for him- until he goes off in a blaze of glory.
Now I realize that all of these descriptors may sound like Hess may have sacrificed the inspired randomness of Napoleon Dynamite in order to make a more structured film. But let me console you in saying that, somehow, surrounding this Coen-worthy plot is so much perfect silliness that most people won't even see all of the true plot steps until they come together for a perfect showdown and a winning finale. In fact, the movie is so wild that some will mistake it for trying relying on sophomoric humor, which it sells fresh and hot throughout (when the majority is more intelligent situational and quotable line humor, with which Hess is a born natural). But analyze it honestly, and you'll see that the emotion-based story is top rate in it's rawness and simplicity, like all the best films.
In short, Gentlemen Broncos is just like it's name- a sophisticated, well-dressed animal that kicks naysayers repeatedly in several places. I wish I had the connections to be able to see it again right now. Thank you comedy Gods, for giving us Jared Hess.