Killer B's Comedy: Mild

Introduction to Killer B’s Comedy: Mild

There’s nothing in this world as subjective as comedy. As Buck Henry says, "The scary thing is, no one really knows what’s funny."* On the other hand, we all know what makes us laugh.

While there are dozens of subgenres of comedy movies, one major division we can make is between those that are mild and those that are wild. Mild comedies are often described as quiet, gentle, low-key, understated, laid back, subtle or understated, and wild comedies with described with words like loud, dark, edgy, madcap, anarchic, rowdy, raucous, exaggerated, over the top, boisterous, twisted, outrageous, uproarious, or just plain crazy.

Killer B’s Comedy: Mild collects 101 of the wittiest, quirkiest, most low-key, charming, and understated comedy movies you’ve (probably) never seen. You won’t find much screaming or slapstick here (well, OK, some). What you will find is tall tales, amusing confusion, tongue-in-cheek fun, erratic romances, eccentric characters, subtle satire...and an occasional measure of heartwarming hilarity.

You can find even more similar comedies in other volumes in the Killer B’s Movie Guide series—not to mention 101 loud, dark, edgy, madcap, anarchic, rowdy, raucous, exaggerated, over the top, boisterous, twisted, outrageous, uproarious, and just plain crazy comedy films in the companion volume, Killer B’s Comedy: Wild.

But for now, if it’s an amusing movie for a quiet night that you’re looking for, just turn the (electronic) page and get ready to find some hearty chuckles, some wide smiles...and a few new movies to love.

* Henry’s statement is not entirely accurate. There is, in point of fact, one thing that is indisputably, universally and eternally funny: monkeys.

The Killer B’s

Movie Guide Series

The Killer B’s Movie Guides are your golden ticket to unseen cinema: noteworthy films that few movie viewers have discovered. These guidebooks take full advantage of on demand movie services, with their easy access to an abundance of films. It’s just as easy to find a hidden gem as a recent blockbuster...if you know what to look for. The Killer B’s Movie Guides let you know what to look for.

If you enjoyed the selections in Killer B’s Comedy: Mild, you can find even more underseen and undiscovered comedies in Killer B’s, Vol. 1 & 2. You might also want to explore some of the other ebooks in the Killer B’s series, including:

Killer B’s, Volume 1 (1980-1995)

The 237 best movies on demand you’ve (probably) never seen. Includes all the major film genres (Action/Adventure, Comedy, Drama, Science Fiction/Fantasy, Family & Kids, Horror, Mystery, Suspense & Thriller, and Westerns) as well as some surprises. (Note: Some of the selections in Killer B’s Comedy: Mild were excerpted from this volume, but you can find many more comedies, both wild and mild, in Killer B’s, Vol. 1.)

Killer B’s, Volume 2: Son of a Killer B (1996-2016)

237 MORE great movies on demand you’ve (probably) never seen. Includes all the major film genres plus a bonus chapter of 11 undiscovered but binge-watchable TV series. (Note: Some of the selections in Killer B’s Comedy: Mild were excerpted from this volume, but you can find many more comedies, both wild and mild, in Killer B’s, Vol. 2.)

Killer B’s: The Hive

The 487 best movies (and a few TV shows) on demand you’ve (probably) never seen. Combines the contents of Killer B’s, Volume 1 (1980-1995) and Killer B’s, Volume 2: Son of a Killer B (1996-2016) into a single volume—and includes annual updates!

Killer B’s Comedy: Wild

101 insane, insanely great, unknown comedy movies excerpted from Killer B’s, Vols. 1 & 2.

Killer B’s: Sci-Fi, Fantasy & Horror

113 great unknown science fiction, fantasy and horror movies excerpted from Killer B’s, Vols. 1 & 2.

Killer B’s: Action & Thriller

123 great unknown action, thriller, suspense and mystery films excerpted from Killer B’s, Vols. 1 & 2.

Killer B’s: Drama

117 great unknown dramatic movies excerpted from Killer B’s, Vols. 1 & 2.

Available wherever fine ebooks are sold.

Killer B’s:

A Detailed Definition

(or, "Why is that in this book?")

Just what is a Killer B?

It’s a minor (B) movie that is excellent, outstanding, and awesome (i.e., killer). It’s a relatively unknown film that’s every bit as first-rate as most first-run features. It’s a bit of undiscovered cinema exceptional enough to excite even jaded movie viewers.

Killer B’s are terrific but little-known films that never got the publicity, distribution or attention they needed to allow their audience to find them. They are commendable movies that were lost in the tsunami of hundreds of new movie and video releases every year. They are movies that Entertainment Weekly calls criminally underrated. And they’re the kind of serendipitous cinematic discovery you yourself stumble across on rare occasions, get excited about, and feel compelled to recommend to friends.

Killer B’s are very similar to movies that have long been referred to as buried treasures or sleepers. What is it, then, that differentiates a Killer B from these other types of undiscovered little films? My selection criteria were, for the most part, arbitrary but logical (as far as I know. I am neither Sherlock nor Spock, however.)

First, I eliminated titles that are too well known. Most movies that were popular enough to make any theatrical or rental top ten list, for example, were rejected. Second, I used a start date of 1996, to limit the list and to keep the films contemporary—and to pick up where Volume 1 of Killer B’s left off. Third, I tried to chart an MOR (middle of the road) course to ensure that the majority of these titles are suitable for general audiences; I therefore rejected as candidates most sub-sub-genres (kaiju, kung fu, exploitation, splatter/slasher, etc.) and cult films (which deserve their own book, but most of which aren’t for general audiences, or they wouldn’t be cult flicks, duh). You also won’t find any grade Z, so bad they’re good trash flicks here. Killer B’s are good movies. (Details on the selection process can be found in the Deep Dive, located at the back of this ebook.)

Finally, there’s The Unwritten Rule—one additional, important criterion: I had to like it. If I didn’t like a film, it’s not in here. Not all blind dates inspire a spark—but some create real chemistry.

So what did I look for in a great overlooked or minor film? Primarily, excellence in one or more aspects: exceptional performances, a smart script, lush photography, appropriate pace, masterful direction. I looked for originality, intelligence, uniqueness, sincerity. I looked for overall engaging entertainment and for lasting impressions. Above of all, however, I looked for genuinely affecting emotion. Whether the film was intended to inspire laughter or tears, awe or chills, I looked for an experience—for films that touched and affected me, with the hope that they will affect you similarly.

You’re holding 101 perfect examples of Killer B’s. (And can find hundreds more in Killer B’s, Vols. 1 & 2, and Killer B’s: The Hive, which combines volumes 1 & 2 in one handy ebook.) Enjoy them...and get ready to find a few new films to love!

Front Matter

• Information You Will Not Find in Killer B’s Comedy: Mild

• The Skeleton Key

• Caveat Videor

Information You Will Not Find in Killer B’s Comedy: Mild

• Distributor (the label under which a film was released on DVD, Blu-ray, etc.). Studio information has also been eliminated because, really, who cares? Never once in the history of watching films at home has anyone ever said, Hey, you know what I’d really like to see tonight? One of those great Columbia TriStar classics!

• Availability information—that is, which on demand movie services carry which titles—is not included, since this is a moving target. Movies are added to and rotated out of all online services on a daily basis. If you want to find out where you can rent or purchase a title, Rotten Tomatoes provides this information online. And the current trend is for apps that check availability across platforms and providers, built into devices like AppleTV.

• Ranking information by the various on demand movie services (and IMDb) is not included, since it is fluid and dynamic. A snapshot of a movie’s rating taken on January first might be totally irrelevant by December 31st...or even on January second.

The Skeleton Key

Each review is formatted in the following manner:

1. Title

2. (Subgenre, where applicable)

3. (Miscellaneous information, where applicable)

4. (Year of theatrical release; 5. MPAA rating; 6. Running time)

HEADING INFORMATION

7. Cast (Starring/Featuring)

8. Writer (and source material, where applicable)

8A. Music (where appropriate)

9. Director

BODY INFORMATION

10. Synopsis

11. Discussion

12. Rent this one for

13. You’ll (probably) like this if you liked

13A. Similar Killer B’s in this volume you might enjoy

14. Critical Credentials/Dissenting Opinion

15. Vidbits

A more detailed key, including definitions and an explanation of the methodology used in each section, can be found in the Deep Dive, located at the end of this ebook.

Caveat Videor

(Let the watcher beware)

Taste.

It’s probably the most loosely defined word in the English language.

But just so there’s no mistake, let me reiterate a key point made in the Introduction, and state definitively, once again, for the record:

Not every Killer B

is suitable for all tastes.

Just as Killer B’s offers sleepers from a wide variety of sources—including major studios, independent productions, cable, made-for-video, unreleased and direct-to-video features—so does it cover a wide range of tastes.

Hence the numerous methods of presenting each movie: by plot, by highlights, by discussion of its merits—even by inclusion of reasons why some reviewers didn’t like a given film. The only rule in this book is that if, after reading the description, a title sounds appealing to you, you’ll probably like it, and it will probably prove worth your while to seek it out. (Death, taxes, and politicians lying aside, nothing is absolutely guaranteed.) But if a review in Killer B’s doesn’t sound interesting, you probably won’t like the movie—so don’t waste your time on it.

Anyway, you’ve been warned...so when it comes to any of these movies, just...watch it.

Quintessentially Quirky

Bagdad Café

(1988; PG; 1:31)

Starring: Marianne Sägebrecht, CCH Pounder, Jack Palance

Written by: Eleonore and Percy Adlon, Christopher Doherty

Directed by: Percy Adlon

Synopsis: An angry German tourist leaves his matronly wife and her suitcase on the side of a Nevada desert highway after an argument. Hours later, Jasmine (Sägebrecht) walks into the Bagdad Café, just after owner Brenda’s (Pounder) husband has walked out on her. The slovenly, filthy, scattered condition of this truckstop motel—and of the lives of its denizens—disgusts Jasmine’s orderly Aryan sensibilities. She cleans a bit. Then a bit more. Then a lot more. Brenda goes ballistic, but slowly grows to appreciate the effort—and the order. Meanwhile, Rudi Cox (Palance), a silk-voiced, satin-bloused desert artist, insists on painting Jasmine’s portrait—repeatedly, and each time with a bit less clothing. Jasmine takes up hand-magic as a hobby and enchants the patrons. The place becomes a cabaret, a pit-stop Las Vegas. Business booms, until...

Discussion: But I can say no more. Much of the fun of this gentle entry lies in its unpredictability; we can never be sure where all this is going, where it will lead, or even what will happen next. How delightful to find a determinedly non-formulaic film! We can, however, be sure that whatever happens will be affectionately eccentric, and that plot points will hinge on character, not vice versa.

Café is essentially a low-key comedy about culture clashes; about assimilation and changes. America is supposed to be a melting pot; maybe the desert heat speeds the process, as Brenda’s anger boils off and Jasmine transforms from stodgy hausfrau to radiant angel—a Rubenesque cherub. It is magic, as illustrated by Jasmine’s hobby—but it’s not illusion: it’s the real magic of finding a niche, and the magic of humans connecting, no matter how unlikely the people, places or circumstances. It’s about the magic of the ubiquitous boomerang of karma, that what goes around, comes around.

Rent this one for: Palance; its unpredictable magic; its heart.

You’ll (probably) like this if you liked: City Slickers (Palance), Moscow on the Hudson, Coming To America (befuddled fish out of water); Mediterraneo (cultural assimilation)

Critical Credentials:

• Tomatometer: 88%; Audience: 88% liked it.

• 1988 Academy Award nomination: Best Song (Calling You—still a haunting song even if it was co-opted for a phone commercial)

• 1989 Cesar Award: Best Foreign Film

Vidbits:

• Shot in Newberry Springs, Calif.

• CCH Pounder went on to co-star on TV’s ER, as well as appearing in several critically-acclaimed TV series like The Shield, Law & Order: SVU, and Sons of Anarchy.

Bliss

(1985; R; 1:52)

Starring: Barry Otto, Lynette Curran, Helen Jones

Featuring: Gia Carides, Miles Buchanan

Written by: Ray Lawrence, Peter Carey (from his novel)

Directed by: Ray Lawrence

Synopsis: This is a story about a guy who told stories, the opening narration informs us. The guy is Harry Joy (Otto), middle-aged owner of a small ad agency in Australia, and a good bloke, loved by everyone. But once poor Harry suffers a near-death experience, he would never be quite the same again. He’s convinced he’s awakened in Hell when he begins to see through the pleasant facade of his existence to the lies that underlie his life. His wife (Curran) is cheating on him with his business partner, for instance; his agency is going bankrupt; his daughter is buying drugs from his son and paying with sexual favors. Even his favorite waiter is dying of cancer.

Harry determines to be a good man and fires all his lying, hypocritical clients whose products cause cancer. As a reward, his ambitious wife has him committed. The only person he can count on is Honey Barbara (Jones), a beautiful beekeeper (and part-time prostitute) from the Outback. But can Harry ever be worthy enough to win her over, find inner peace, and live a life worth living—a life worth telling as a story?

Discussion: A large part of the appeal of Bliss is that it resists categorization; it’s impossible to pigeonhole the film into any typical genre. It’s simultaneously a cautionary tale, an absurdist fable, a surreal comic fantasy, an anarchic allegory, and a film full of magical realism and twisted imagery. It’s also a tender, offbeat love story, a tall tale of redemption, and a scathing satire of modern life. And if that isn’t enough, it’s also breathtakingly original, darkly hilarious, and excruciatingly funny. It’s funny, as they say, because it’s true.

Harry has had a genuine spiritual revelation...but acting on that awakening turns out to be far tougher than he could ever have expected—and the temptation to backslide into the blissfully blind and bland hypnotic state of his former existence is a constant temptation. What is ignorance, after all? Only Harry’s determination and devotion to the love of the wise Earth Mother Honey Barbara might be able to redeem him. And this is the heart of Bliss: it’s a parable about integrity—its hairy pitfalls and its joyous rewards.

Rent this one for: its singular vision; its philosophical message relayed through humor.

Similar Killer B’s in this volume you might enjoy: Danny Deckchair, Funny Bones, Strictly Ballroom

Critical Credentials:

• Tomatometer: Audience Score: 82% liked it.

• ...its madcap energy and anarchic intelligence put it in a class of its own... Witty and profoundly enjoyable. –Time Out

• Viciously funny, scathing in its satire and damning in its inescapable truths...offering one of the most tender and moving climaxes I’ve ever seen. –Ken Hanke, Mountain Xpress (Asheville, NC)

• Won Australian Film Awards for Best Film, Director, and Adapted Screenplay.

Dissenting Opinion:

• ...tries to accommodate comedy, hysteria and...pretentious and boring adolescent philosophical debates... contrived and finally, too long... If nothing else, this film is different. –Richard F. Shepard, New York Times

• ...bizarre, disgusting and perverse. –TV Guide

Vidbits:

• Don’t confuse this with the 1997 Sheryl Lee sex drama of the same name, or the 2010 Turkish film, or the Oxygen channel’s 2002-05 series. Lot of bliss out there...

Cinema Paradiso

(Italian)

(1988; NR; 2:03)

Starring: Philippe Noiret, Jacques Perrin, Salvatore Cascio

Music by: Ennio Morricone

Written and directed by: Giuseppe Tornatore

Synopsis: Salvatore Di Vita (Perrin) hasn’t been home to Sicily since he left 30 years earlier. But when news of Alfredo’s death reaches him, the memories come back in a flood of sentiment. In their provincial village, the main form of entertainment was the single movie theater in town—Cinema Paradiso—and young Toto Di Vita (Cascio) had a special friendship with the projectionist, the irascible old rascal Alfredo (Noiret). Persistent Toto eventually wore down the old man’s resistance and became his apprentice in the trade of projecting dreams.

Tragedy, joy, and will—both good and ill—conspired to promote Toto to main projectionist at the tender age of ten. As a teen, he began making his own films. He fell in love; he went to war; he left home and began his career. But he never forgot the gifts given him by Alfredo: love, wisdom—and a passion for the cinema. We share Toto’s legacy as well: the final sentimental gift passed from the film-loving father figure to his successful pseudo-son.

Discussion: Life isn’t like in the movies, Alfredo counsels a heartbroken Toto, victim of the sweet sorrow of love. Life is much harder. Too true—and without the movies, how would we escape from vicious life, or vicariously live our fantasies? On a large scale, this film is nearly as superb a portrait of life in a post-War Sicilian village as Fellini’s Amarcord was a picture of a pre-war parochial Italian community. The town is lousy with politics and practical jokes (many of which take place at the movies), and this little theater is as much their temple of entertainment as the Church is their spiritual center.

On a small scale—and center stage—is the story of the life-long affection between Alfredo and his cinematic spiritual son, the fatherless Toto; a tale at turns insightful, funny, tender and tragic.

Chances are that if you watch foreign films at all, you’ve already seen Cinema, as it was one of the most popular cinematic imports of all time. If for some personality quirk you don’t watch foreign films, Cinema Paradiso makes an excellent starting point.

Rent this one for: its scope