I've been a longtime fan of Ricky Gervais, ever since his turn as David Brent on the original version of The Office. Now he's back in a Netflix original series, called Derek, where he plays a caretaker at a British nursing home. Derek is a sweet, kind person who also borders on autistic (though he won't even admit to understanding what that is. "I'm tistic?"" he replies when someone asks if he's been tested.) The show's in the same mockumentary style as The Office, replete with awkward interactions with the cameramen.
When I watch Gervais play Derek, I visualize a mix between Dustin Hoffman's Rain Man and Gollum from The Lord Of The Rings in the way that he moves. He has this weird hunched-over shuffling style of walking and is constantly pushing long strands of his hair out of his face. For some reason, I also picture him as Marty Feldman's Eyegor in Young Frankenstein.
The show is a dramedy, quite capable of going from a scene that leaves me hysterical to one that sobers me up immediately. In one episode, Derek goes out to get a weekly lottery ticket for one of the residents, who then dies while he's outside. Upon returning, he asks if he can see her one last time and takes her hand and uses it to pat his head, which she would do to comfort him after he had screwed up something in her room.
There is a really good ensemble cast here, especially with Gervais regular Karl Pilkington playing Dougie, the curmudgeonly handyman with a hairstyle that seems to border between a monk and someone who set the top of his head on fire. Keri Godliman plays Hannah, the manager of the home, who is very invested in all the people who reside in the home and David Earl plays Kev, a crude man who has nothing better to do than just hang out at the home and drink beer and make obnoxious sexual references.
This was the first season of the show, and I have to say that I am looking forward to what the next season brings.
Ricky Gervais might have been a little bit of a disappointment at the 2012 Golden Globes, but the comedian hasn't given up on offending people just yet. His latest target: Anne Frank. Yep, you read that right.
Gervais appeared on The Daily Show last night, starting off his interview with the innocent, victimless bashing of his friend and colleague Karl Pilkington (costar of The Ricky Gervais Show and An Idiot Abroad), which host Jon Stewart seemed to get a kick out of. But Stewart's demeanor changed rapidly when Gervais began riffing some material on how shocked he is that Anne Frank wasn't discovered earlier. Gervais tried to laugh it off, but Stewart was visibly uncomfortable.
However, it was nothing a few jokes about Jesus' crucifixion couldn't mend — the two seemed to bond on the humor of that subject. Yep.
The Daily Show with Jon Stewart Get More: Daily Show Full Episodes,Political Humor & Satire Blog,The Daily Show on Facebook
Sarah Palin's Today Backlash: Jon Stewart Bashes the Guest Host
Ricky Gervais Wants Pandas To Try Harder: Late Last Night
Beyoncé Joins Twitter — Your Move, Tina Fey & Jon Stewart
Merging Serpico with an almost Shakespearean sense of tragedy Pride and Glory details an extremely complicated investigation into the gunning down of four New York City cops after an attempted drug bust goes terribly wrong. With increasingly bad PR and an apparent cop killer still at large the Chief of Manhattan Detectives Francis Tierney Sr. (Jon Voight) assigns his son Detective Ray Tierney (Edward Norton) to lead the probe. The younger Tierney is reluctant since he knows all four cops served under his brother Francis Jr. (Noah Emmerich) and brother-in-law Jimmy Egan (Colin Farrell). Ray’s instincts may be right because as he digs deeper he discovers an awkward and uncomfortable connection between Francis Jimmy and the case. Could his own family have been involved in an inside job and tipped off the drug dealers? Soon Ray finds himself having to choose between the greatest moral dilemma of all: loyalty to the job or loyalty to his family. Although Pride and Glory doesn’t break any new ground and is composed of elements we’ve seen in many previous films dealing with police corruption this film is distinguished by some of the finest work in the storied careers of many of its cast. Norton follows up his summer comic-book movie The Incredible Hulk with a far smaller and more focused character in P&G playing a man caught in a moral bind facing the unthinkable prospect of going after his own family members. Norton wears his ticklish predicament on his face and is enormously effective conveying pure angst. Emmerich (Little Children) delivers a rich portrayal of a tortured soul not only caught up in an intense investigation but dealing with a wife (Jennifer Ehle) dying of cancer. Farrell is better than he has been in some time playing a shady officer who seemingly will stop at nothing to get what he needs. Voight as the proud family patriarch and veteran of the NYPD clearly understands the dilemma of this man who is watching his family torn apart. Co-writer/director Gavin O'Connor has spent a frustrating couple of years trying to bring this story to the screen but his perseverance pays off. Pride and Glory is a well-written cop tale that co-exists as an interesting character study about the power of family ties vs. personal pride. O’Connor manages to put us right in the center of the moral conflict at the heart of his story and with several first-rate actors (even in the lesser roles) crafts a film that seems authentic to its core. Incorporating Declan Quinn’s in-your-face realistic cinematography O’Connor resists going for a more obvious audience-pleasing flashier style achieving a look and feel that seems more grounded in the milieu he’s trying to capture. His script co-written with Joe Carnahan (who wrote and directed the equally gritty Narc) is tight and unsympathetic slowly letting layers of a very intricate and complex story peel away to reveal a core that packs a punch right to the gut.