These days, music videos are the perfect platform for an artist to release their hot new single and get it in front of hungry fans and unknowing persons with ears. A flashy viral hit can do wonders for concert ticket sales, and in the hands of an expert director, can simultaneously be a true work of art.
"Crazy Clown Time," the new video from director David Lynch (Elephant Man, Blue Velvet, Twin Peaks) fits that bill…kind of. Set to the title track of the filmmaker/transcendental meditation aficionado's debut album, the video is trippy, fantastical and gritty — basically, pure Lynch. The director hasn't helmed a feature film since 2006's Inland Empire, so to see him back behind the camera flexing his imagination is a treat.
The scene for "Crazy Clown Time" is a backyard party. The guests, an eclectic selection adults "clowning around." The results? You'll have to see it (or live it? or dream it? or conquer it?) yourself. Watch the video, then check out Lynch musing on the topic of clowns — an equally bizarre and wonderful interview:
Find Matt Patches directly on Twitter @misterpatches and remember to follow @Hollywood_com!
Watch: Jake Gyllenhaal Is a Murderous Fencer in French Music Video
Why J. Lo's Sexy Music Video With Casper Smart Is a Terrible Idea
Watch Taylor Swift's 'Safe and Sound' Music Video For The Hunger Games
S3E18: If the words “scrapped together” have ever applied to an episode of television, that episode was this week’s Modern Family.
The ABC hit is always an energetic show—it has an impressive pacing when it comes to dialogue and gags. That being said, it usually maintains a calm mood to it, so that even though things are moving quickly, they rarely seem hectic. But “Send Out the Clowns” is an exception. Everything about the episode is chaotic. The storylines, the dialogue, and the characters’ behavior and judgment all seem to be hopped up on some kind of hallucinogenic uppers.
Unfortunately, the comedy suffers throughout, and there are few jokes in the episode that actually land. Even more of a tragedy is what happens to the characters: they cease to be the people we know, instead opting for bizarre, off-the-wall oddballs, existing only to further jagged, harebrained plots—and this is especially unforgivable considering, as said, none of it is all that funny. “Spy Pen? Second oldest trick in the book. A real man would have just poisoned the soup.” – Mitzi Phil is always operating at 11, but his mania this week is particularly noteworthy. Phil is on edge because he has a big house to sell, but his nemesis Mitzi Ross, a devious rival real estate agent, swoops in to usurp his clients. I don’t know too much about the cutthroat real estate business, but Mitzi’s ploy of tricking Phil’s clients into believing that he shoved her violently into their bushes seems a little Loony Tunes. Modern Family doesn’t work when it abandons its tone of realism altogether. It is funny to see the family—Phil, Luke, Cam and the rest of the head-in-the-clouds non-Pritchetts—juxtaposed against some real world sincerity, but when the world that they live in is the source of madness, the show’s identity and its humor suffers. Zaniness like this is better suited for shows that are established as such, like 30 Rock or Community. “I was fake crying before I could walk. How do you think I got out of eating all those salads?” – Luke Phil spends the entire episode flipping back and forth between his uplifting embracement of ethics and hard work and a cynical misanthropy brought on by Mitzi’s antics. This is a good example of how the episode as a whole feels: totally reactionary, almost completely without footing, and shooting off in ten different directions. Eventually, after a couple of unsuccessful attempts to get back at Mitzi and reclaim his territory, Phil and Luke institute a very predictable gambit, wherein Luke plays his “innocent kid” routine for Mitzi in the supermarket, guilting her into giving the clients back to Phil. We’re not supposed to know what they’re up to, but we do. It’s painfully obvious to the viewer. And the conclusive scene of Phil’s giddy acceptance of the idea of manipulating your enemies is so out of character it’s bothersome. “What’s the trick to those fake tears?” – Phil “The Three Stooges are all dead.” – Luke But compared to Jay, Phil is his old self this week. When Manny tells his parents that he has made friends with Griffin—a kid so cool that Stella the dog perks up at the sound of his name (the funniest moment this week)—Jay is practically infatuated. He acts like Phil did with Dylan, only without the tech-savvy or the ability to pull off a leather jacket. Jay assumes that Griffin is only hanging out with Manny to get closer to Jay; he considers himself the picture of a cool role model. In reality, Griffin is hanging out with Manny to better ogle Gloria, on whom he has a blatant crush. Jay doesn’t work as the fool. He’s established as a figure of sensibility and deserved respect. Yes, he has his flaws. But they are flaws befitting his dignity and “machismo.” He’s hypercompetitive and stubborn. Those are ways an imperfect Jay works. Fawning over a teenaged boy in hopes of being validated as a cool adult? Not at all in coordination with who he is or is supposed to be. And although Manny is generally pure Manny through the episode—his institution of “Japanese night” is one of the episode’s better jokes—there are a couple of things that stand out as obscenely un-Manny. First and foremost, he is willing to lie to a young boy in order to get closer to his sister. Although Manny is consistently girl crazy, he’s also terrifically honest, with a tremendous guilty streak. Secondly (and less importantly), isn’t the idea of Manny being willing to ride Jay’s motorcycle completely out of character? Or has this affinity for the bike ever come up before? “It’s fine. All seltzer under the bridge.” – Cam Finally, the titular storyline, and the best of the three major plots. Cam’s old clown college professor’s death reunites him with some old clowning buddies, particularly Lewis (Bobby Cannavale), his old partner in the “Fizbo & Lewis” routine. They were practically the Beatles. Of children’s parties. Lewis is a bawdy sort who still resents Cam for dropping their act to devote himself to Mitchell years back. However, their reunion sparks the old passions again, and Cam agrees to get back in the game for a few shows. Cam is on Cloud 9 with Lewis around. They plunge full-force into the clowning routine, entertaining Lily to no end. “I am a clown. It’s who I am. If you squeeze me, do I not honk?—Eyeroll!” – Cam “Oh, like I had a choice?” – Mitchell The larger story here erupts when Cam addresses Mitchell’s lack of respect for his life’s passion. This mainly serves, unfortunately, to remind us of how incompatible Mitchell and Cam seem to be. Even the conclusive scene of Mitchell finally laughing at one of Cam’s acts—an act that goes horribly awry when a devastated Lewis attacks Cam for breaking up the team in favor of his family again—aren’t enough to instill a confidence in their relationship. Maybe it’s unlikely, but I’d like to see an episode devoted to telling us when and how Mitchell and Cam met and fell in love. What brought these extremely contrasting people together? There is something in there that sometimes works—episodes like the original “Fizbo” from Season 1 and the more recent “Punkin Chunkin” do give us clear cut evidence that Mitchell and Cam work as a couple and are better people for having each other in their lives. But too often, we have episodes like “Send Out the Clowns”—or plenty of far more volatile examples that have been peppered throughout Season 3—that make us wonder why they’re even together. A minor one-note story involves Claire trying to convince Haley and Alex to friend her on Facebook, only to regret it when they finally do, realizing that she has a lot more to hide than they do. Claire has led a wild life, a lot of which was caught on camera by old friends ever willing to post these incriminating photos on her wall. Modern Family’s greatest fault is forgetting its characters. This show is so popular because of how well crafted, believable and lovable the people in it are. When that is abandoned, you might as well be watching a whole different show. Do you think it works when Modern Family goes a little looser, like on this week’s episode? Are Phil and Jay still funny when they’re not being Phil and Jay? Let us know in the comments section or on Twitter @MichaelArbeiter.
The Horrible Bosses star is nephew to funnyman Wendt, best known for playing Norm on the long-running sitcom, and was thrilled when he was invited to the TV studio to watch the cast at work.
And after seeing how much fun the show's stars were having, Sudeikis began to dream of a career in Hollywood too.
Sudeikis tells British talk show host Alan Carr, "I did (visit) once when I was in middle school, probably 13 years old. I remember they were rehearsing, him and Woody Harrelson and John Ratzenberger and Ted Danson, they were in the middle of a rehearsal.
"They had this long steel pipe and they made a homemade blow dart with a piece of tape and a nail. They were all sitting across the room, shooting across the bar, the Cheers bar, trying to hit a poster. I was like, 'This seems like the greatest job in the world, I wanna do that when I grow up.' Subconsciously... but now I got to (sic)!"
Set in the 1970s male-dominated news world the dashing mustached Ron Burgundy (Will Ferrell) is indeed a legend as San Diego's top-rated anchorman. He and his news team--including field reporter and all-around ladies man Brian Fantana (Paul Rudd) sports cowboy Champ Kind (David Koechner) and mindless weatherman Brick Tamland (Steve Carell)--live life large as local television icons boozing and womanizing with the best of them. As Ron puts it they have been coming to the "same party for 12 years--and in no way is that depressing." But their world is about to turn upside down when an ambitious newswoman Veronica Corningstone (Christina Applegate) is hired by the managing news producer (Fred Willard) to spice things up. The guys aren't worried at first treating her like any other woman that is to say sexually harassing her--and despite that Veronica and Ron hit it off. But soon Ms. Corningstone's true agenda is revealed--she wants to land an anchor spot and she isn't about the let anything stand in her way including a perfectly coiffed slightly hairy idiot newsman named Ron Burgundy. Of course this means war.
No longer is Ferrell just a side character illuminating the proceedings with his hilarity. Along with pals Jack Black Vince Vaughn and Ben Stiller (who make strategic cameos in Anchorman--but we aren't telling how 'cause that'll ruin the fun) the former Saturday Night Live alum has become one of the new kings of cinematic comedy. People expect Ferrell to be gut-bustin' funny now and luckily he delivers once again as Ron Burgundy. With a voice that "could make a wolverine purr " Burgundy is all hot air great hair and polyester debonair a dim bulb who tries to understand the news stories he recites but gives up quickly because it requires too much thought and simply reads the teleprompter exactly as it is written. Ferrell is at his best when he is allowed to free-associate either by himself (while getting ready to go on the air) or with his co-stars Rudd Koechner and Carell (singing a strangely harmonious rendition of "Afternoon Delight"). Keep your eyes on Carell--he is a comic gem on the rise. The Daily Show co-star had a brief but memorable turn in last year's Bruce Almighty as an anchorman (ironic huh?) Jim Carrey messes with but in Anchorman Carell is absolutely side-splitting as Brick who doesn't have a single brain cell working rattling off non sequiturs like "I ate an entire red candle " when talking about a party the night before. Christina Applegate subjected to this lunacy holds her own god bless her and does an admirable job playing the straight woman to this group of wackos.
Adam McKay former SNL head writer makes his directorial and screenwriting debut with Anchorman. The story has a fairly classic and simplistic framework--Burgundy starts out on top falls to rock bottom and climbs his way back up again--but it's pretty evident early on that with the likes of Ferrell and the rest all McKay has to do is turn the camera on them and let it all happen. Watching Burgundy incoherent breaking down in a phone booth after his dog is supposedly booted off a bridge by an irate motorcyclist or the news team rumble where San Diego news rivals go at each other with nasty weapons it's funny stuff. But rather than just let the comedy come from the story á la Old School Anchorman throws in some antics that probably sounded comical on paper but end up being silly and forced. For example Veronica and Ron going to "pleasure town " (sexual bliss) with animated furry animals and rainbows instead of seeing the love act itself or the gang trying to get out of a bear pit after they've woken up the hibernating animals that's a little over the top. At least Anchorman never goes for the toilet humor--nope you won't find a vomit urine semen or poop joke in this film. You will however find gratuitous shots of Ferrell's hairy chest. Shiver.