Hitcom Top | Film
A rare hybrid of musical, car-chase action, and Hitcom. John Belushi and Dan Aykroyd are on a "mission from God," and the result is a film so relentlessly energetic that laughter alternates with awe. The cameos (Aretha Franklin, Ray Charles, James Brown) are as funny as the dialogue.
Why do we love the "Film Hitcom Top" so much? Because these movies relieve the tension of modern life. We all feel like professionals trying to clean up messes. Watching a hitman try to vacuum blood out of a carpet while his mother calls about dinner is the ultimate metaphor for work-life balance.
If you haven't seen In Bruges or Grosse Pointe Blank lately, do a double feature tonight. Just don't watch them with any real cops. film hitcom top
What is your number one Hitcom of all time? Let us know in the comments.
The modern Hitcom can trace its lineage to the late 1980s, a period that saw a shift from the gritty action of the previous decade toward self-referential irony. A rare hybrid of musical, car-chase action, and Hitcom
Grosse Pointe Blank (1997) is arguably the seminal text of the genre. The film posits Martin Blank (John Cusack) not as a master criminal, but as a man suffering from a mid-life crisis. The brilliance of the film lies in its treatment of assassination as a corporate career. Blank struggles with the same issues as any white-collar worker: burnout, ethical complicity, and the desire for a work-life balance. By framing his high school reunion as the setting for a final job, the film literalizes the collision of past and future
Taika Waititi and Jemaine Clement took the Spinal Tap formula and applied it to vampire roommates. This film is a hidden gem that has since spawned a hit TV series, but the original movie remains the purest Hitcom experience: low budget, high concept, and non-stop laughs. The modern Hitcom can trace its lineage to
So “film hitcom top” = top hit comedy movies.
The coming-of-age Hitcom for the millennial generation. Written by Seth Rogen & Evan Goldberg, Superbad has the most realistic (and therefore funniest) dialogue about teenage desperation ever recorded. Jonah Hill and Michael Cera’s chemistry, along with Christopher Mintz-Plasse’s McLovin, creates a perfect storm of awkward hilarity.
