A Night at the Liquor Cabinet! My Cocktail Experiment in Marxist Mixology

A Marx Brothers cocktail

Tighter, brighter, and Zeppo...I mean, zippy     

In the last two or three years, I've started tinkering in the fine art of cocktail mixology. I'm no Jerry Thomas, but at least I haven't brewed anything that made the paint peel off the walls.  

I've had some help from the likes of Mr. Boston and his bar guide along with a few other cocktail recipe books to conjure up some rather exotic, classic, and exquisite spirits. I can muddle through with the best of them.
Plus, I often stumble upon a myriad of cocktail recipes people either make up themselves or discover for the first time and feel a need to share. Many, though, are novelty mixtures normally aimed at random fandoms like Star Wars cocktails, Gilmore Girls cocktails, Ghostbuster cocktails. Sometimes they're novelty holiday drinks such as Halloween cocktails, Christmas cocktails, etc. 

More often than not, a lot of those recipes don't appeal to me as I don't care for the overly sweet taste many of these recipes probably have based on the ingredients. Many I've come across on social media pages often call for a mix of sodas, syrups and fruit juices into one glass. How can anyone taste the alcohol through all that fruit and sugar?  

I like some sophistication in my drinks. I don't want to chug my cocktails.

Well, that got me thinking. I should concoct my own cocktail. But with what? What would I call it? One cocktail I stumbled upon in two of my recipe books is named after Charlie Chaplin, the silent film comedian. 

A Charlie Chaplin calls for four parts sloe gin, four parts apricot brandy and three parts fresh squeezed lemon juice. Combine all ingredients in a shaker with cracked ice, shake, and strain into an old-fashioned glass. One cocktail book I have calls for a martini glass. 

It took me a bit to find sloe gin but once I did, the result was refreshing. To me, it makes a delicious summer cocktail, especially with the sloe gin. 

If there's a cocktail for Charlie, there should be a cocktail for the Marx Brothers. I love the Marx Brothers. So, they should have some sort of tonic concocted in celebration of their work.

The closest I could find online is a recipe for a "Horse Feathers cocktail" named after their 1932 movie starring the four brothers- Groucho, Harpo, Chico, and Zeppo. 

It calls for one-ounce cognac or brandy, one-ounce aged rum, a half ounce of Benedictine DOM which is a sweet liquor from France, and a half-ounce maraschino liqueur. Combine in a mixing glass with ice, stir, and strain into a chilled glass. I haven't tried it, but I'll keep in mind. I don't have any of this DOM, though. 

Oh, and I stumbled on another drink in honor of their other movie, "Monkey Business" from 1931. 

1½ oz Gin
1 oz Sweet Vermouth
¼ oz Banana Liqueur 
¼ oz Fernet Branca (I had to look up what this fancy sludge is. I think it doubles as an Italian liquor and corrosion remover for car batteries.) 

The banana liqueur sounds like a bit of a turn-off for me. Banana flavored anything is definitely not my go-to. With that said, I haven't tried this cocktail, either.
What I did try, however, is a mixture of my own.

🍹Here's to Zeppo!

My original mixture called for Amaretto (because Chico), sweet vermouth (that's for Harpo) and dry vermouth (the best I could do to match Groucho's humor), and a splash of brown sugar syrup (Zeppo). It was strong, and that's all I could remember from that binge after I woke up. 

I looked into what spirits mix well with what other spirits, went from there and that's what I came up with. 

It sounds more like a suicide than a cocktail brewed for Minnie's boys. The profile was a little hard for my tastebuds to wrap around. I don't know. Maybe it's a little too novice for a recipe? 

So, I've tinkered a bit and came up with this one. Now, I admit I took some inspiration from that Horse Feathers cocktail and as well as my own recipe, trying to match booze to brother, including Zeppo. 

He left the act after appearing in their first five movies. "Duck Soup" (1933) was his last Marx Brothers movie, thus dwindling the Marx's from four to three as far as the movies go.

There are actually five Marx brothers, though their brother Gummo never appeared with the rest of them in any of their films. He did perform on stage for a short time but was replaced by Zeppo after joining the military during WWI. 

Anyways, here's what I came up with. For Chico, I'm going with Maraschino liqueur to match his sweet but sly Italian personality. For Harpo, I think lemon juice matches his blond curls, mischievousness and general wordless and unexpected demeanor. And gin, dry and sharp, seems perfect for Groucho. Add a dash of aromatic bitters to match their sharp comedic wit. 

Sorry, Zeppo. Maybe we can use simple syrup in your honor. Afterall, you were always the sweet romantic straight man. 

Simple syrup is technically essential. Without it, the drink doesn’t quite balance. Still, does anyone order a cocktail and exclaim, “Ah yes, the simple syrup really steals the show!" Of course not. It dissolves quietly, contributes sugary sweet appeal, and vanishes into the background while the gin and bitters hog the spotlight.

Zeppo delivers exposition the way simple syrup delivers sweetness: necessary, structurally sound, and too often unremarked upon. The syrup blends in and balances the madness.

I don't mean to diminish or throw shade at Zeppo. I'll let Groucho's character Prof. Quincy Adams Wagstaff do that. If you know what I'm talking about, then you, dear reader, are in!

Now that I'm thinking about it, I'll add the dry vermouth to the recipe for Gummo's sake. I don't know how dry vermouth is a good match for Gummo. Maybe because, from what little I know about mixology, dry vermouth is usually understated. It’s rarely the star ingredient. Dry vermouth doesn’t jump out and grab your attention. But if a barkeep were to remove it from a proper Martini, then it's not a Martini. So, there ya go. Bottom's up! 

My pour recipe

Ingredients  (single cocktail)

1.5 oz gin

 - Or try rum if you’d rather stay “Hollywood classic" with this cocktail.

0.5 oz dry vermouth

0.5 oz fresh lemon juice (optional)

0.5 oz simple syrup (1:1 sugar to water)

0.5 oz Maraschino liqueur or 2–3 barspoons if you prefer subtlety. 

 - I had a helluva time trying to score a bottle of this stuff. Good luck finding it! 

1 dash aromatic bitters (Angostura or similar). 

Lemon twist for garnish

And then what...

Add all ingredients to a shaker with ice until well chilled.

Strain into a chilled glass.

Garnish with a lemon twist.

Imbibe!

My pour commentary

Light up a Dunhill cigar (or an Arturo Fuente as that's the only Churchill cigar I have in my humidor) to cap the whole experience. Congratulations, who've just sloshed your way into Marx Brothers fandom thanks to me. 

What do I think of this cocktail? Well, sober up and I'll tell you. I tried it twice.

The first time, I think I added a little too much lemon juice as the flavor dominated about everything else. I admit I forgot to buy a lemon, so I resorted to bottled lemon juice. It's not ideal as it's not fresh. But it was the best I had. 

I may just skip the juice next time I concoct this mess. Or I'll use less juice next time for sure. 

There's something refreshing about this cocktail. 

The lemon juice oddly mixed well with the both the simple syrup, and especially the Maraschino liquor. 

Maraschino liquor has a sweet taste that resembles bubble gum. That's not something I expected. I plan to tinker with this recipe a bit.

I also went with rum instead of gin as I have plenty of rum in the house. You'd think a pirate lived in this house with all the rum hiding in the cabinet. 

When I happen to acquire some gin, I'll give that a turn. 

But, despite what tinkering this mixture might need, I think my first attempt was a good start. It has all the makings of a summer cocktail. For something brewed in honor of the Marx Brothers, I think the ingredients pair well and make for a perfect match of personalities. I was satisfied enough with my first attempt. 

My second attempt, I added just a squeeze of lemon juice from a small wedge which was perfect. The drink is sweet, balanced and lighthearted. It doesn't pound the tastebuds, but it does have a very slight nip to it. Balanced, though, is the key word. 

There are three distinct spirits blended with sweetness, a few drops of sour lemon and bitters for that slight sharpness. Overall, I'm pleased with the result. 

So, now that I got you this far, how's about a movie recommendation? If you haven't yet mixed yourself a drink, it'll give you something to read while you're working towards getting sauced and lighting yourself on fire with a cigar. 

While I previously wrote up a review of their first film, "The Coconuts" from 1929, I've included another review below because clicking around a blog while you're hammered is no way to browse. 

A Night in Casablanca (1946)

Look at that. A movie review! Think of this as a garnish for your cocktail. Or, at least, something to read as you're working on getting hammered. Don't worry, though. I'll keep it clean. It's a funny movie without booze. It's funnier with booze. And if Harpo starts making sense, you’ve had too much!

"I don't mind being killed, but I resent hearing it from a character whose head comes to a point!"

Director
Archie Mayo

Cast

Groucho Marx - Ronald Kornblow
Harpo Marx - Rusty
Chico Marx - Corbaccio
Sig Ruman - Count Max Pfefferman (aka Heinrich Stubel)
Lisette Verea - Beatrice Reiner
Charles Drake - Lt. Pierre Delmar
Lois Collier - Annette Bernard
Dan Seymour - Capt. Brizzard
Frederick Giermann - Kurt


May 10 marks the 80th anniversary of the release of the film, "A Night in Casablanca," the Marx Brothers' 12th theatrical film. 

When "A Night in Casablanca" hit theaters in 1946, audiences hadn't seen the Marx Brothers flickering on the big screen for a while. It was kind of like a comeback for them. 

By 1946, the brothers were over-the-hill. Chico was 55. Harpo was 52. And Groucho was trailing in third at 50. 

Just before its release, there was a salty written sparring between Groucho and the Warner Brothers over the release of "A Night in Casablanca." The movie triggered the Warner Brothers who released "Casablanca" in 1942 as the Marx Brothers' movie was initially intended to be a spoof and that hurt their feelings. So, the Brothers Warner had a temper tantrum over the Marx's upcoming film and told the Marxs how they felt. Of course, Groucho himself replied and rattled a few cages in the process. In one of those letters, Groucho describes the plot in typical Groucho cynicism. 

He writes, "There isn't much I can tell you about the story. In it I play a Doctor of Divinity who ministers to the natives and, as a sideline, hawks can openers and pea jackets to the savages along the Golden Coast of Africa. 

When I first meet Chico, he is working in a saloon, selling sponges to barflies who are unable to carry their liquor. 

Harpo is an Arabian caddie who lives in a small Grecian urn on the outskirts of the city. 

As the picture opens, Porridge, a mealy-mouthed native girl, is sharpening some arrows for the hunt. Paul Hangover, our hero, is constantly lighting two cigarettes simultaneously. He apparently is unaware of the cigarette shortage. 

There are many scenes of splendor and fierce antagonisms, and Color, an Abyssinian messenger boy, runs riot. Riot, in case you have never been there, is a small night club on the edge of town. There's a lot more I could tell you, but I don't want to spoil it for you." 1

I ought to leave that as the synopsis, but chances are someone will actually watch this movie and be sorely disappointed to know none of that actually happens. I mean, duhh. 

The actual plot for this movie, which doesn't unfortunately satirize "Casablanca," involves murder, romance, Nazi treasure, hotel staff turnover, irritated guests, and a lot of smart-alecky double-talk. 

With World War II over, the story starts as the manager of the Hotel Casablanca drops dead! Poisoned! The police are baffled. The hotel guests are inconvenienced. That's three managers at the hotel who have died in six months.  

The chaos only continues as a new hotel manager, Ronald Kornblow (Groucho Marx), fills the vacancy primarily because no one else will take the job. 

Little does he know that a group of former Nazis are using the Hotel Casablanca as a secret hiding spot for stolen Nazi treasure somewhere within.
War criminal Heinrich Stubel (Sig Ruman), who's prancing around the hotel under the alias Count Pfefferman, is responsible for the murders. 

His goal is to take claim of the Nazi treasure. The only way he can do that without anyone finding out and seeing through his disguise is by murdering the hotel managers and becoming the manager himself. 

Now that Kornblow is running the hotel, Stubel has his sights on him. 

Kornblow manages to dodge assassination attempts with typical sarcasm and wit. Two associates, Corbaccio (Chico Marx) and Rusty (Harpo Marx) try to keep a watchful eye on Kornblow, especially as he becomes sweet on the hotel lounge singer, Beatrice Reiner (Lisette Verea) whom Groucho doesn't realize is closely associated with Stubel.

Through the antics of Kornblow, Rusty, and Corbaccio, they soon pull back the veil to uncover the conspiracy at the hotel. That's especially true when Rusty discovers the stolen Nazi treasure. 

Once they set out to expose Stubel as the Nazi criminal he is, Stubel tries to pin the hotel murders on Groucho. And all out absurdity and hilarity ensue. 

I recall seeing "A Night in Casablanca" on T.V. over 25 years ago. I think it was film critic Leonard Maltin who introduced the movie with commentary before and after. I could be remembering incorrectly.

I recall him, or whoever was introducing the movie, stating that for this picture, the writers wanted Harpo to speak at last by shouting, "Murder!" He didn't, thankfully, as it would come across as one big gimmick. The movie didn't need it. Audiences surely wanted to see the Harpo they're familiar with and would keep coming back to the cinema to see again and again. That Harpo never talked. And he was hilarious as a result. He still is 80 years later.

Chico is back at his slick talk and crooked practices. His jokes don't steal the wit and puns from Groucho. Chico's performance is rather effortless, playing a character who, like previous characters he's played, is on the main character's side. 

Chico's talent at the piano is one of the most impressive talents I've seen from any Hollywood entertainer. His bit at the piano in this movie is one of those instances I used to rewind and watch again and again. Effortless is the best word I can come up with. 

"A Night in Casablanca" is certainly among their top three best films alongside "Duck Soup" and "A Night at the Opera." 

Outside of "Duck Soup," "Monkey Business," "Horse Feathers," and "Animal Crackers" - that's four titles with animals - "A Night in Casablanca" has a lot of wisecracks and one-liners that have stuck with me through a lot of years. 

In one scene when Rusty, Corbaccio and Kornblow hijack the plane Stubel and his crew are using to escape Casablanca, Rusty takes over the controls and manages to get the plane airborne. 

Kornblow jovially comments, "Well, here we are...up in the air." 

He catches himself, and then looks at the camera and says, "What a stupid remark that is!" 

Lisette Verea, Frederick Giermann, and Sid Ruman.

In another scene, Corbaccio, who in the beginning of the movie tells Kornblow he operates a yellow taxi camel company, assumes the role of Kornblow's personal bodyguard. 

Kornblow asks about his taxi camel business since Corbaccio is now claiming to be his bodyguard. 

"In the daytime I'm in the camel business, at night I'm a bodyguard."

"What happens if I get shot during the day?" Kornblow asks. 

"Then I give you a free ride on my camel." 

In a scene where Rusty learns Stubel is going to have Beatrice bump off Kornblow during a romantic rendezvous, he tries to tell Corbaccio about what's about to happen unless they intervene. 

He conveys this dire warning to Corbaccio through pantomime since, obviously, Harpo doesn't speak. Harpo and Chico did the same sort of joke in "A Day at the Races." It's a scene that even made my kids laugh pretty hard.  

Sig Ruman previously worked with the Marx Brothers in their films "A Night at the Opera" and "A Day at the Races." Groucho's sarcasm plays hilariously well off his gruff, no nonsense, haughty demeanor just as it does in those previous Marx movies. 

Before "A Night in Casablanca," the Marx Brothers hadn't been in a movie since 1941's "The Big Store" which is a lacking comedy, I regret to say. I saw it once and though I remember little about it, I do recall it not being as funny as their other films. But I'm willing to give it another chance.

So, for a sort of reunion film, the brothers are stay true to form.

I recall Leonard Maltin also saying during that television airing on "A Night in Casablanca" that Chico was deep in gambling debts, or some kind of debts, at the time so this was a golden opportunity to acquire some funds. 

"After Thalberg's death my interest in movies wanted," writes Groucho in this book "Groucho and Me." "I continued to appear in them, but my heart was in the Highlands. The fun had gone out of picture-making. I was like an old pug, still going through the motions, but now doing solely for the money. My swan song was 'A Night in Casablanca.' This was an independent venture and we were going to get a percentage of the profits." 2. 

No doubt, when the movie came out, audiences were glad to see the Marxs again. Five years can feel like a long time, especially when being a part is concerned. 

Swan song, indeed! This is a fun film with jokes that don't become dull and tiresome over time. It still makes me laugh. Happy 80th anniversary, "A Night in Casablanca." 

 

1. Groucho Marx, The Groucho Letters, ed. Arthur Marx (New York: Simon & Schuster, 1967). pp. 16–17

2. Groucho Marx, Groucho and Me (New York: Bernard Geis Associates, 1959). pp. 280–285

Only the Lonely (1991)

"Just telling it like it is, ma."

Director
Chris Columbus

Cast
John Candy - Danny Muldoon
Maureen O'Hara - Rose Muldoon
Ally Sheedy - Theresa Luna
Anthony Quinn - Nick Acropolis
Kevin Dunn - Patrick Muldoon
James Belushi - Sal Buonarte
Macaulay Culkin - Billy Muldoon
Kieran Culkin - Patrick Muldoon Jr.

Trying to get a copy of the 1991 John Hughes romantic comedy movie "Only the Lonely" is strangely difficult. In fact, it's nearly impossible.

DVD copies sell for close to $100. It's not streaming on any service at the time I write this. Nor is it free with ads, or available to rent, on YouTube.  

"Only the Lonely" is no small movie. It stars John Candy in certainly one of his best performances. The movie also stars veteran actress Maureen O'Hara whose part was written specifically for her. She retired from acting in 1971 after appearing in the movie "Big Jake." However, O'Hara returned to acting just for this movie. So, "Only the Lonely" is her last film appearance. She delivers a performance so effortless it feels like she never left.

It also stars Ally Sheedy, James Belushi, Anthony Quinn, features a cameo from Macauley Culkin, and is directed by Chris Columbus. Again, this is no small movie. Nor is it a comedic flop. So, it's a wonder why it isn't available on DVD while movies like "The Garbage Pail Kids Movie" is readily available. The industry is backwards, for sure!

I've wanted to grab a copy of this for a while without having to spend a three-digit figure. So, despite my better judgement, I resorted to sneaking down a dark, dank back-alley behind Chow Fun's Chinese Cuisine to meet a shady fellow calling himself Rick "No Questions" Delgado and his sidekick "Cash‑Only" Carl, both of whom work for a guy called "Vlad the Retailer," to purchase a bootleg copy of "Only the Lonely."

I wasn't willing to go higher than $20 so that's what I paid. It's still too much, but a critic has got to do what a critic has got to do. I've said too much already.

Anyways, on the bright side, I now own a copy of "Only the Lonely" and you don't!

So, in this movie, John Candy plays Chicago police officer Danny Muldoon. He's a 38-year-old bachelor who's still living in his boy-hood home with his mom, Rose (Maureen O'Hara). She's quite the Irish Catholic woman who has a way of dominating Danny's life. 

John Candy and Marueen O'Hara in "Only the Lonely."

Since his father passed away years before, the duty to carry the family forward fell on Danny's shoulders. 

He somehow managed to get his brother, Patrick (Kevin Dunn) through Law School. And Patrick, who's married with kids (Macaulay Culkin and Kieran Culkin), wants Danny to remain single, take care of their mother and move her and himself to Florida for her sake. 

This surfaces when Danny meets Theresa (Ally Sheedy) after spotting her at a local Irish pub when two Irish guys carry a corpse in for one last drink with the deceased. 

She's with the funeral director who follows after the two guys to bring the corpse back to the funeral home,

Danny is interested in her at first sight. So, he stops by the funeral home later with hopes to talk to her and ask her out. 

She agrees to go out with him, and in no time, a romance buds rather beautifully. However, his mother doesn't quite approve of Theresa, especially since she's not Irish like they are. She's Italian/ Polish - not that it should matter. After an uncomfortable "meet my mom" dinner at a nice restaurant which doesn't last past the main entrees, things get real between Danny and Theresa. 

She objects to Danny's constant fear that something terrible might happen to his mother which gets in the way of his life as he feels he has to be constantly protecting her while she manipulates him. Theresa decides to let Danny go. 

Loaded with heartbreak and considerations over how he needs to change his priorities, he has trouble telling his mother that he needs to live his life and she needs to finally care for herself. 

The story is rather simple but loaded with a lot of humor and emotion. The importance and need for a person to have a family of their own is the key takeaway of this movie. It's one I certainly can get behind.

John Candy's performance is fantastic. As his previous movies are comedic, I don't know of any other John Candy movie in which he takes a romantic lead on top of his comedy. And being that it's a romantic role, he doesn't overplay the comedy. He lets it come naturally so audiences can relate. 

Candy plays the apprehensive type who's more hopeful than determined to win Theresa's affection. Ally Sheedy plays off this performance as the shy and self-doubting type, until she comes out as a strong character who knows what sort of leading man she wants in her life. 

While I admit Sheedy and Candy seem like an unlikely couple, they make it work. Their chemistry develops through the movie. That can certainly be said of many true-to-life relationships.

One seen I objected to sees Danny sneaking Theresa into his house, and into his bedroom for a night of "romance." 

John Candy and Ally Sheedy.

Being a Catholic and having a devoutly Catholic Irish mother who's staying over at Patrick's for the evening, Danny knows having sex before marriage is a grave sin. When the two head up to Danny's bedroom and start to get romantic, Danny spots his statue of Jesus on his dresser looking in his direction. In what's supposed to be a funny scene, he tosses his police hat over the statue to avoid that guilty feeling. It's supposed to be endearing. It's not. It could have been left out. 

Otherwise, "Only the Lonely" is a movie that doesn't deserve to be out-of-print, or unavailable all together. It's a fun movie and John Candy in a romantic lead role is a rarity. He's at his absolute enjoyable best. Candy's apprehensive delivery, his reactions to reciprocated romance along with his worries over his mother are what string the comedy along. But he also makes it so easy to feel for Danny when he's torn by his heartbreak along side his impulse to constantly protect his overbearing mother. 

Even in a romantic lead, John Candy is true to his comedic form. He's dramatic when he needs to be, and convincingly so. He can deliver lines with just enough emotion that doesn't ham up the scene. He delivers his charm plus some goofball humor. He's funny and sympathetic at the same time. His comedic timing with just the right emotion in the proper dosage seems almost flawless. This plays off so well as Sheedy's character loves the charm but she's smart enough to know she needs a man who will put her first. 

Hands down, this has to be one of Candy's best performances, if not the best. 

And Maureen O'Hara's performance is as though she hadn't left acting twenty years before. She takes on the role with a natural ease. I mean, this is an actress who has appeared in some of the biggest movies - "Miracle on 34th Street," "The Hunchback of Notre Dame," "The Quiet Man," "Rio Grande," "The Parent Trap," and "Mr. Hobbs Takes a Vacation" to drop a few titles. Her acting is so fluid and unforced. She gives her last performance her all, clearly. Her character Rose is really memorable. Rose's personality is a bit staunch and a little abrasive, though still motherly. She's not completely unlikeable or overly harsh. Despite her obvious flaws, there's still a redeeming quality shining through, hidden by her hard shell. 

O'Hara drives the emotional conflict of the entire story, and blends well with John Candy. It's an underrated performance, indeed. 

It's a shame "Only the Lonely" is nearly a neglected romantic comedy. It has a lot going for it, and above all, is an entertaining worthwhile comedy - a gem among such movies that's worth finding...if you can.

Grumpier Old Men (1995) - Jack Lemmon and Walter Matthau movies, with Jack Lemmon and Walter Matthau, or one or the other

"This restaurant is sitting on top of one of the biggest and best worm beds in all of Wabasha county."

Director
Howard Deutch

Cast
Jack Lemmon - John Gustafson Jr
Walter Matthau - Max Goldman
Ann-Margret - Ariel Truax Gustafson
Sophia Loren - Maria Ragetti Goldman
Daryl Hannah - Melanie Gustafson
Kevin Pollak - Jacob Goldman
Burgess Meredith - John Gustafson Sr

While I've watched and reviewed "Grumpy Old Men" with Jack Lemmon and Walter Matthau, having seen it

once or twice before, I've never seen its 1995 sequel "Grumpier Old Men" before until now. 

I wasn't ever really persuaded to watch it even though I enjoyed the first movie, and Lemmon and Matthau reprise their roles. Honestly, it struck me as just another sequel made only to recapture the first movie's lightening-in-a-bottle all over again. The first movie pairs Lemmon and Matthau late in their careers. Plus, with Burgess Meredith being added in amidst the duo to steal the show, the first movie is really well-balanced with a truly solid chemistry that's difficult to reproduce. But the writers and producers certainly tried with "Grumpier Old Men." 

I kept the intention to "watch it one of these days" in my mental to-do list mainly out of curiosity. I knew I'd eventually get to it. So, now I can scratch it off that list. 

In this sequel, Walter Matthau's Max Goldman is still a bit of a frump with enough dapperness to carry him around bachelorhood. 

Jack Lemmon's John Gustafson Jr is happily married to Ariel Truax Gustafson (Ann-Margret) from the previous movie. And the two are still neighbors. 

The two old men still fight. But the fighting words they sling at each other seem a bit more intended as ribbing rather than actual fighting words. Their friendship, not as ornery as before but still salty enough for the title's sake, needs to be smoothed around the edges. In other words, they've mellowed out just enough to be noticeable. 

Max's son, Jacob (Kevin Pollak), is now engaged to John's daughter, Melanie (Daryl Hannah). 

And John is enjoying married life with Ariel. John's father, John Gustafson Sr (Burgess Meredith) is alive and kicking. And fishing still remains a central pastime for John and Max, and whoever else in Wabasha, Minnesota is into fishing. The elusive catch of all catches, the infamous fish called "Catfish Hunter" remains at large in the local fishing hole. Yeah, Catfish Hunter is back!

However, things become sour when news that the bait shop from part one, a connecting social point for the fishing enthusiasts in the area, is going to turn into an Italian restaurant thanks to newcomer, Maria Sophia Coletta Ragetti (Sophia Loren) and her elderly mother, Francesca "Mama" Ragetti (Ann Morgan Guilbert). 

Sophia Loren and Walter Matthau in "Grumpier Old Men."

Max and John take their sites off each other and shift their grumpiness onto these soon-to-be Italian restauranteurs. 

They first try to put an end to the restaurant with childish pranks. This just backfires on them. Ariel becomes upset with John for his antics towards the new folks in town and it puts a bit of a strain on their relationship. In fact, she forces him to go and make amends much to the dismay of Max. 

The antics also backfires in Max's face as he and Maria begin to fall for each other. 

Even so, thanks to their antics, Max and Jacob end their engagement because of their respective dads. 

Amidst all the tangled problems between everyone, John Sr dies. 

Shortly after the funeral, Max and John really begin to consider everything that's going on and think that the best course of action ought to be towards mending relationships, encouraging their kids to marry, and welcoming the restaurant. After all, who doesn't like Italian food? In fact, maybe there's room for some compromise? 

The movie starts off well with some good laughs. Its pace picks up nicely from the previous "Grumpy Old Men." 

Overall, it feels more like a TV series pilot special running at 101 minutes. As always, Jack and Walter are fun to watch, and they still carry that long lasting chemistry. By this time, it comes naturally. 

Even so, I wanted to see more Burgess Meredith. I kept looking forward much more to his lines and screen time. Burgess's dialogue that gave me the most laughs. And then, in the middle of the story, he disappears. When he shows back up, he's dead. So, I didn't like that. No, sir. I didn't like that at all. 

In one scene when Melanie is worried because her little girl, Allie (Katie Sagona) swallows a quarter, 

Jack Lemmon and Burgess Meredith.

John Sr. says, " Relax. Kids swallow quarters all the time."

"Really?" Melanie replies.

"Sure. If she craps out two dimes and a nickel, then you can start worrying."

In another scene, John Sr reads a bedtime story to Allie.

 "And then the Mama Bear said, 'Somebody's been sleeping in my bed, too.' And finally, the Baby Bear looked and he said, 'Somebody's sleeping in my bed, and the bastard's still there!' But Goldilocks had a Remington semi-automatic with a scope and a hair-trigger."

"That's not the way it goes!" Allie remarks. 

"And that was the end of the Three Bears."

So, Burgess struck me as the best part of the movie. Otherwise, "Grumpier Old Men" tries to be different enough from part one, but it also tries to mimic the style and charm of part one. 

Somewhere in the second act, the movie starts to fall apart. The comedy wanes, the story begins to drag, and the plot starts feeling like it forgot where it needs to go. It starts floundering to the point where I wanted it to finally end. 
The plot is basically Walter Matthau refusing to accept the concept of a girl who's out of his league. And it pays off well for him in the end. Since John manages to marry in the first movie, then Max deserves a shot at marriage. It's a standard case of the sequel not being as good as the first.

It starts off as entertaining, begins to trip over itself in the middle of the second act and then seems to make things up as it goes along. By the end, it's not authentic. It's disjointed. 

The stars are fun to watch, but still I waited for something exciting to happen. It has its funny lines, most of which came from Meredith. That's not to say I didn't get some laughs from Lemmon and Matthau/

And as much as I love Walter Matthau, I couldn't take any sincere interest in his character's romantic pursuits. It certainly wasn't for me. Of all the Lemmon and Matthau movies, this one unfortunately falls the flattest.  

Moby Dick (1956)

"From hell's heart I stab at thee; for hate's sake I spit my last breath at thee. Ye damned whale."

Director 

John Huston

Cast
Gregory Peck - Capt. Ahab
Richard Basehart - Ishmael
Leo Genn - Starbuck
Orson Welles - Fr. Mapple
James Robertson Justice - Capt. Boomer
Harry Andrews - Stubb
Friedrich von Ledebur - Queequeg
Mervyn Johns - Peleg

I've reached a point in life where I think it would be a loss for me if I don't read some of literature's most renowned and respected books. Life is starting to feel short.

At the moment, I am on a Charles Dickens kick. You see, after taking an online Hillsdale College lecture on "A Christmas Carol" last December (the only Dickens story I've read in its entirety so far) I started a Dickens reading list for 2026 as I hadn't ever tried to read a novel of his aside from "A Christmas Carol" since high school. 

Back then, I tried to read a couple books by Dickens which were on an assigned reading list but never could get past the first few pages.

To begin with, back then I had to pick a book each month and submit a book report at the end of each month. Unfortunately, I am a terribly slow reader and finish a book in a month seemed impossible to me. So, I had to read as much as I could in a month and finish the rest on a wing and a prayer. Somehow, I managed. I'm still slow, I humbly admit. How people read so fast, I can't figure it out. 

While trying to read Dickens back in high school, I complained of too many characters and how difficult his stories were to get into. 

Now, with "A Christmas Carol" as my starting off point since I've read it several times already, I'm now working my way through "Oliver Twist" and will continue from there. I want to give Dickens another chance. He deserves another chance. 

Last year, I got through five books. Two were audio books and three where actual books. My general routine now has developed into read one actual book and listen to an audio book at the same time. So far, it's working out well. And man! Is "Oliver Twist" a long book to get through. But I am proud to say I am pulled in. Once I finish it, I'll move onto "A Tale of Two Cities." 

So, with that said, I've had some weird intrigue with Herman Melville's "Moby Dick." I've never read it, and to be honest, I'm kind of intimidated by it. I've heard comments that it's hard to read, it's long, it's a thick book, it's difficult to get into, it's too deep, it's boring etc. My personal interest in whales and whaling is somewhere between minimal and non-existent. Honestly, I was never even that interested in seeing Shamu at Sea World when I was a kid.  

If all they say about the book is true, then I'll start the book by familiarizing myself with the plot first. I checked out the 1956 movie "Moby Dick" from my local library. And after watching it, I listened to Ben Shapiro's (yes, that Ben Shapiro) "Third Thursday Book Club" commentary on the book. Say what you will about Ben Shapiro, his insight into novels is great and engaging to listen to. 

Gregory Peck as Capt. Ahab in "Moby Dick."

I think my curiosity about "Moby Dick" comes from the general theme boiled down to man going up against God, and the biblical themes that run through the story. Plus, it's such a renowned and highly praised novel that I just needed to see what it was all about, even if I never end up reading it. 

If I looked into all the themes and symbolism packed within and discussed it all, this would be a critique half the length of the actual book. This is the movie adaptation of the novel, so I'm going to critique that. 

With "Moby Dick" or any movie that's based on a book, I'm not terribly concerned how much a movie follows a book as long as it respects the source material. Peter Jackson's "Lord of the Rings" films certainly respect the source material (Tolkien's books) though the movie does take a few liberties with the stories. 

Andy Serkis's upcoming movie "Animal Farm" based on Orwell's book clearly doesn't follow the book nor does it look like it'll respect the source material. I can't wait to rip that mess apart!

Though I haven't read "Moby Dick," based on what I know of the story, the movie certainly respects the source material. And from what I read, it follows the story rather well. Besides, Herman Melville didn't make the movie. Anyways, this isn't a book report. It's a commentary on a movie. 

I would think the plot of "Moby Dick" is familiar with just about everyone. 

So, in this movie, a sailor who asks the audience to call him "Ishmael" (Richard Basehart) because that's his name decides to join the crew of a whaling ship called the Pequod. I think he's a schoolteacher in the novel, if I'm not mistaken. He befriends a harpooner named Queequeg (Friedrich von Ledebur) just as they're both about the sail under the seriously obsessed Capt. Ahab (Gregory Peck) who is fixated on hunting down an elusive white whale called Moby Dick. It's the same whale that once took his leg. So, Ahab is out for revenge! 

The voyage progresses with all the usual whaling work and general sea life of whalers. Ahab and his whaling crew encounter other ships along their way which are overshadowed by Ahab's hellbent determination, fueled by a desire for vengeance, to kill the white whale. 

All the while, Ahab's mind frames this quest as a cosmic struggle of man against evil. 

After a long period, when all seems lost and hopeless in regard to finding Moby Dick, the Pequod catches up to the mammoth whale. 

They chase it for three days until the whale smashes the Pequod's smaller boats and ultimately attacks the ship itself, killing Ahab when he's caught in his own harpoon and dragged under the surface of the frothy sea. 

When Moby Dick crashes headfirst into the side of the Pequod causing it to sink, all the crew except Ishmael are killed. He's rescued and lives to tell the salty tale. 

I think the movie certainly simplifies the novel's plot, condenses the backstories of the characters, and quickens the pace. It would have to or I'd still be working my way through the movie. I'm speculating a little based on what I know about the length of the novel and what sort of themes and topics it goes into. However, I wasn't bored at all with the movie. 

The movie tries its hardest to wrestle with the major elements of the story, in respect to the source material, so that it strikes a chord with the audience. 

Ahab's chase is ultimately for immortality which is the battle of all human battles. He wants greatness and will die trying to snare it with his harpoon.  

Gregory Peck doesn't just act with his voice; he acts also with his eyes. He is bloody fantastic in this role! He captures Ahab's flaming determination straight down to his hard gaze and intensity. 

Peck's performance is solid, intimidating and as uncompromising as the sea itself - relentless!

He gives Ahab a moral seriousness or gravity just by the look on his face. It's an amazing performance. 

Director John Huston is no small name among the lexicon of famed directors. He has quite a list of titles on his resume - "The Maltese Falcon," "The Treasure of the Sierra Madre," "The African Queen," "Moulin Rouge," "The Man Who Would Be King," and "Annie" to drop a few titles.  

In this case, he gives this book adaptation a surreal and vast atmosphere that has an impressive immensity to it. There's definitely a biblical taste underneath it all. The sea tale is told with seriousness without the need of any swashbuckling flair. The entire picture, especially the effects, are accomplished masterfully. It still impresses 70-years later. 

I also have to single out Orson Welles as Father Mapple. He delivers one of the most intense sermon scenes in classic cinema. His sermon centers on the story of Jonah. It's not hellfire and brimstone though he warns sinners rather than rage against them. 

Gregory Peck would later play Father Mapple in the 1998 mini-series "Moby Dick" starring Patrick Stewert as Capt. Ahab and Henry Thomas as Ishmael. 

When it comes to the book, many comments on the Book Club insisted the book is boring, especially the parts describing the whale species. Shapiro recommends reading the first 150 pages, skipping the middle, and then continuing onto the last 150 pages. Maybe? 

The movie, though, is fantastic - the beginning, the end, and the middle. I can't yet say for sure, but if I ever decide to crack open Herman Melville's book, I suspect I'll be glad I watched the movie first. I don't normal carry such a sentiment. In this case, I think that's how I'll likely feel.  With it's acting, effects, atmosphere and visuals, "Moby Dick" needs to be counted among my personal favorite flicks!

Grumpy Old Men (1993) - Jack Lemmon and Walter Matthau movies, with Jack Lemmon and Walter Matthau, or one or the other

"What makes two men spend most of their lives fighting?"

Director
Donald Petrie

Cast
Jack Lemmon - John Gustafson Jr.
Walter Matthau - Max Goldman
Ann-Margret - Ariel Truax
Burgess Meredith - John Gustafson Sr.
Daryl Hannah - Melanie Gustafson
Kevin Pollak - Jacob Goldman
Ossie Davis - Chuck
Buck Henry - Elliott Snyder
Christopher McDonald - Mike

With my annual Christmas movie binge out of the way until next Christmas, I can resume my thread of Lemmon and Matthau movies. I have a few more to go. 

My last highly unqualified Lemmon/Matthau movie critique was aimed at "The Front Page." After they filmed that, the guys teamed up in Billy Wilder's 1981 movie, "Buddy, Buddy." Well, I had already reviewed "Buddy, Buddy" in 2021 for a thread I christened "Video Rental Chicken Fat." 

I'm not watching "Buddy, Buddy" again nor do I need to say anything else about it so I'm jumping to the next movie of theirs — the 1993 comedy "Grumpy Old Men." 

I should mention that Jack Lemmon and Walter Matthau both appear in the 1991 Oliver Stone movie "JFK" but don't share screen time together. That means "Grumpy Old Men" marks their first movie together as a pair in 12 years. 

In this movie, divorcee John Gustafson (Jack Lemmon) and widower Max Goldman (Walter Matthau) are next door neighbors somewhere in frozen Minnesota. Once upon a time, they used to be buddies. Now, they're bickering geriatric rivals. Grumpy. Old. Just like the title says. Plus, they're constantly pulling some pretty mean pranks on each other to keep the animosity flowing. 

Well, their feud reaches atomic levels when a gorgeous English widow, Ariel Truax (Ann-Margret), moves into the house across the street. Shwing! 

John and Max's hormones rev up into overdrive as they both compete for her attention and hopefully romantic affection. They awkwardly flirt with her. They go out of their way to embarrass the other. They make complete asses of themselves in the process. Now, that's comedy. 

As Max and John duke it out for Ariel's attention, their grown-up children, Melanie Gustafson (Daryl Hannah) and Jacob Goldman (Kevin Pollak), put up with their respective dad's constant complaining and bickering. 

The duel of the dads doesn't discourage their children from having a genuine and long-time friendship as they both try their best to get their dads to make amends and be the pals they used to be. Max and Melanie secretly had feelings for each other since childhood but they never quite got the kickstart they needed. 

On top of all this, the movie throws in Burgess Meredith as John Gustafson Sr, John's dad, and it's a perfect comedic trio between Meredith, Lemmon and Matthau. 

Off the bat, I thought the few sexual innuendos and that particular scene between John and Ariel that tries to be charming but fails is just too off-putting. I'll have to deduct points for that. Gross! 

If alternate universes exist, I hope there's a version of this movie out there in the whatever-verse that also stars Carol Burnett because I just wish Lemmon and Matthau made more movies with her after "The Front Page." What could have been.

As I mentioned in my review of "The Front Page" in which Burnett co-stars, I think she makes a great addition to the two. If the writers had thought of it, I'm sure she could have fit somewhere in this movie.

Still, "Grumpy Old Men" is a fun film, plain and simple. It's as though the writers gave Lemmon and Matthau briefly explained the story to them in a sentence or two, told them what their respective characters are like, and just let them go at it. By 1993, who would be presumptuous enough to give Lemmon and Matthau direction on how to be funny?  

The movie definitely channels the chemistry and comedic stye that makes Lemmon and Matthau funny in their second movie together, "The Odd Couple." Lemmon and Matthau continue to work impressively well off each other, tattered a bit from age but still in working order. Now, it's taken to the next level. 

"Grumpy Old Men" focuses on the quarreling and irritation each one inflicts on the other without the character quirks their respective characters had in "The Odd Couple." 

That's all this movie has to support it, save for a good supporting cast. In other words, there's no old grimy Oscar Madison and old squeaky Felix Unger. The movie takes all Lemmon and Matthau can offer by 1993 and uses as much as it can. The movie would work just as easily if it were titled, "Lemmon versus Matthau." 

By this period "Grumpy Old Men" introduced a new generation of movie goers to the chemistry and comedy of these guys. The thrill of the movie is watching Matthau and Lemmon play off each other. Unfortunately, it doesn't feel as genuine as some of the previous movies of Lemmon and Matthau. It's lacking a little bit. 

Burgess Meredith, by the way, is absolutely perfect as a supporting character. Never have I seen a performance of Burgess Meredith I didn't like whether on the series "The Twilight Zone" or the 1960s series "Batman," orespecially in the "Rocky" movies. I also title-drop "Clash of the Titans" while I'm on the topic Burgess performances. And now "Grumpy Old Men." 

Burgess Meredith in "Grumpy Old Men."

And the whole package pays off in the end. It's funny. I wouldn't say "Grumpy Old Men" is Lemmon and Matthau's most solid comedy, but I wouldn't hesitate to place it in fourth place following "The Odd Couple" followed by "The Fortune Cookie" followed by "The Front Page." I think that's a solid position for a comedy! 

Though Lemmon and Matthau were slowing down as far as energy goes by this time, their old age works to the films advantage. Afterall, "old men" is in the title. They pissed each other off in "The Odd Couple." Now they do it again as old men. 

The premise of a love interest is a nice and simple way to get these two characters and long-time friends to fight it out. The plot conjures up Norman Rockwell's piece "The Rivals" painted in 1922, which depicts two young boys meeting by chance at the front gate of a girl's house, one carrying flowers and the other carrying sweets, and glaring at each other in good ol' fashion male competition. Men let everything slide—unless there’s a woman involved.

Of course, the outcome in "Grumpy Old Men" is who Ariel will end up with, if anyone. For a comedy the premise is delicate and relatable. So is the outcome. 

This is a satisfying comedy about a rivalry burning as hot and heavy as the joints of these old characters will allow. It manages to stand as endearing for the most part. The pranks are clever. The insults are satisfyingly cynical, the reactions are hilarious. It's funny. It could even work as a live action origin story of Statler and Waldorf from "The Muppet Show." Now there's an idea! "Grumpy Old Men" has found a place in pop culture. I often hear it referenced here and there. And it spawned a sequel! I'll get to that later. 

Remember the Night (1940)

"Look when court reconvenes, I'm going to try my best to put you in jail for a good long time. That's my business, but you haven't been convicted yet, so I don't see why you shouldn't enjoy Christmas like the rest of us."

Director

Mitchell Leisen

Cast

Fred MacMurray - John Sargent
Barbara Stanwyck - Lee Leander
Elizabeth Patterson -as Aunt Emma
Beulah Bondi - Mrs. Sargent
Sterling Holloway - "Chilly" Willie Simms
Willard Robertson - Francis X. O'Leary
Charlie Arnt - Tom
Tom Kennedy - "Fat" Mike
Georgia Caine - Lee's mother

Believe it or not, it's still the Christmas season. As Candlemas approaches on February 2, I suppose it’s coming to a close as I post this.

Back in Christmas of 2024, which feels too long ago, my wife and I made it a point to check out a handful of not as popularized Christmas movies, "Christmas in Connecticut," "The Holly and the Ivy," "The Lemon Drop Kid," "It Happened on 5th Avenue," and "The Shop Around the Corner." There's one other Christmas movie Iv6e wanted to add to that list but never did until now. It's the Christmas romance movie, "Remember the Night" directed by Mitchell Leisen and starring Barbara Stanwyck and Fred MacMurray. 

In this movie, Barbara Stanwyck plays shoplifter Lee Leander who's arrested after lifting some jewelry just days before Christmas. 

Her prosecution falls upon Assistant District Attorney Jack Sargent (Fred MacMurray). However, the sentimentality of the holiday season may soften the hearts of the jury and lead them to decide not to acquit. So, to ensure a fair and impartial trial, Jack postpones it until after Christmas. 

However, that same softness of heart that Christmas is notorious for entices Jack to post Lee's bail. He had overheard her complaining to her attorney about spending the holidays in jail. To prevent that, he asks the bondsman, Fat Mike (Tom Kennedy, not me) to post bail. 

Fat Mike does that and then brings Lee over to Jack's apartment thinking he wants to, ummm, show Lee a good time...so to say. 

Of course, Jack is a gentleman and a man of integrity so that wasn't his actual intention. Fat Mike just has a filthy mind, I guess. Seriously, Mike? Fat and perverted!  

Anyways, Jack finds that he and Lee have some things in common, like both being Indiana natives. He also can't help but feel bad that Lee doesn't have a place to spend Christmas. 

As Jack is going to be driving to visit his family for the holidays, he offers to give Lee a ride to her mother's place as it's on the way. 

So, the two take a little road trip during which they park to rest in a random field for the night. They're then arrested for trespassing, and are hauled off to a cantankerous Justice of the Peace. They flee from his office thanks to Lee's expertise at evading lawful trouble. 

Jack drops Lee off at her mother's house, but she wants nothing to do with her daughter. As far as she's concerned, Lee is a hopeless case. 

So, Jack decides to take her to his family's place for Christmas. Lee is warmly welcomed by Jack's family. As they love having her around, she learns a lot about Jack. 

As expected, a romance forms between Lee and Jack though once Christmas is over, the trial will still have to commence. 

"Remember the Night" is like a Hallmark Christmas movie before Hallmark movies were a thing. And I've seen so many Hallmark Christmas movies, plus a bunch of Christmas movies from Great American Family that I recognize recycled plots faster than I can process the shame of admitting to it. I’m not proud of it or anything. My wife loves those Hallmark and Great American Family flicks. And this classic flick feels like one of them. However, despite what seems like a rather comedic premise, it doesn't have the gingerbread trauma, the kind that one feels when the poor local cupcake shop is threatened with closure due to financial troubles, that Hallmark movies have. 

Nor does it beat the audience over the head with tinsel demanding they feel the tidings of comfort and joy. Rather, it comes across as genuine... somewhat. 

"Remember the Night" has that Christmassy tenderness with a hint of raw feeling to it when compared with other holiday romance films. 

I appreciate romantic comedies like this with a premise that consists of a budding romance between a fellow and a dame in which some sort of duty over love gets in the way. It's quite a workaround that gives the audience something to ponder. 

"Remember the Night" is a perfect example of such a romance. Other movies such as "The Lady Eve" (1941) and "Ball of Fire" (1941) have a similar law or love premise. 

"Bluebeard’s Eighth Wife" (1938) and "Meet John Doe" (1941) also have similar plots but with reversed roles in which the male leads are boggled down by their misdeeds while romance is on the horizon. 

"Remember the Night" also reminds me a bit of "Roman Holiday" with Audrey Hepburn and Gregory Peck in that it's a romance that isn't really "supposed" to occur. 

The chemistry between Fred MacMurray and Barbara Stanwyck hits the audience as soon as they're on screen together. Their respective performances give the story enough screwball comedy elements that doesn't get in the way of the story's subtle melancholy tone because despite how much the audience wants to see these two characters hook up, there's that pesky legal matter that can't just go away. 

Though she's technically a criminal, Lee is still a genuinely sympathetic character. Something is clearly at the root of her poor decisions, and her mother doesn't have any hope for her own daughter.

It's worth mentioning that Stanwyck and MacMurray would go one to star in "Double Indemnity" in 1944.
"Remember the Night" may not have the emotional impact that "It's a Wonderful Life" has, or the triumph of something like "White Christmas," or the glorious conversion of "A Christmas Carol," it works well to deserve an annual slot in the Christmas movie rotation. It has its own little conversion premise worthy of some appreciation around the holidays. 

Check out my commentary on other generally unheralded Christmas films! 

Tapawingo (2024)

"I was just walking home from school and the harassment began."

Director
Dylan K. Narang

Cast
Jon Heder - Nate Skoog
Kim Matula - Gretchen
Jay Pichardo - Will Luna
Sawyer Williams - Oswalt
Amanda Bearse - Ramona Skoog
John Ratzenberger - Tom Roan
Gina Gershon - Dot

George Psarras - Glenn Gratton 

Paul Psarras - Ben Gratton
Billy Zane - Stoney Tarwater
Chad Dukes - Nelson Tarwater
Jacob Tyler Kemp - Philip Tarwater

I think the 2004 movie "Napoleon Dynamite," directed by Jared Hess, is overall an original funny movie despite my initially trying to figure out what the point of it was. As I mentioned in my previous comments about "Napoleon Dynamite", the movie's appeal comes the relatability younger audiences find with the story and characters, especially when it comes to the awkward quirks of teenager and high school life. The humor, the quotable lines, and the likeability of Napoleon and the other characters makes it appealing. 

While I found the pacing a bit weird and the general plot of "Napoleon Dynamite" attempting to help his buddy, Pedro, get elected as student body president over at Preston High School tacked on in the middle of the movie, "Napoleon Dynamite" is a film about how loyal this odd teenage kid, played by Jon Heder, is to his friends. But the biggest take away for me is its quirky humor and memorable characters.  

I bring up "Napoleon Dynamite" because I couldn't help noticing that the 2024 movie "Tapawingo," written by Brad DeMarea and Dylan K. Narang, and directed by Dylan K. Narang is similar in style and tone. Even the movie's deliberately eclectic, retro synth-pop sounding soundtrack, mixed with a little jukebox variety of rock tunes is similar to that of "Napoleon Dynamite." Plus, "Tapawingo" also stars Jon Heder in the lead role.

In this movie, Heder plays Nate Skoog, a 30-something year old guy living in a small Midwest town with his protective mother, Ramona (Amanda Bearse) and works a dead-end job in a mail room. He regularly attends his tornado watch class and is a devoted reader "Mercenary International Quarterly" magazine which he checks out at the public library. He's also a little miffed that Ramona's new boyfriend, Tom (John Ratzenberger) is inching his way into his life as he moves in with Ramona.

Jon Heder and Jay Pichardo in "Tapawingo."

The mundanity of Nate's day-to-day life changes when his boss asks him to pick up his son Oswalt (Sawyer Williams) each day from school. So, he gets into his car - something between a hot rod and a dune buggy or go-cart - and gives Oswalt a lift. 

At Oswalt's request, he drops him off at Gretchen's (Kim Matula) house as he's tutoring her. She's a 

the non-conformist type, to say the least. But she still wants good grades!

Nate is instantly smitten by Gretchen and her subversive demeanor and no-crap attitude. 

Meanwhile, Nate takes it upon himself to protect Oswalt from his bullies, seeing it as an opportunity to utilize his mercenary knowledge and tactics. 

He convinces his buddy and fellow "mercenary" Will Luna (Jay Pichardo) to assist in taking down Oswalt's bullies. 

He also seeks the aid of two awkward brothers, Glenn (George Psarras) and Ben Gratton (Paul Psarras) who pride themselves in being experts in fighting and combat. They're both all too eager to help. It's an opportunity to show off their skills and tactics, and do some good.

And these aren't just any bullies. They're the town's notorious family of bullies, the Tarwaters. 

What starts as Nate's simple warning leads to a huge confrontation Nate isn't completely prepared for but takes on anyways. It's a matter of principle, and love. 

Very much to its credit, "Tapawingo" has a much more solid storyline compared to "Napolean Dynamite." I should mention both movies are unrelated despite similarities in style.  

The film blends quirky humor with sincere small-town charm as this unhopeful crew takes on a crew of tough guys who are much too sure of themselves.

It also has an abundance of deadpan humor, dark with a mundane absurd element that's hilarious to watch because the characters are sincere and take themselves seriously which brings laughs. The whole situation is depicted believably as everyday life in this town. 

Though it's a comedic style very similar to "Napoleon Dynamite," I found myself laughing much more with "Tapawingo." I hate to keep comparing the two movies, but I couldn't help think "Tapawingo" would have made a great sequel. The characters could have easily been pulled out from Preston, Idaho, where "Napoleon Dynamite" was filmed. "Tapawingo" even utilizes similar wide shots and camera angels. Nevertheless, even as it is, it's an appealing comedy. And I liked it better!

The "dark" element flows from the seemingly failed ambitions and emotional detachment save for

Kim Matula as "Gretchen" in "Tapawingo."

Nate's concern for Oswalt. There's also social rot with Gretchen's general rebellious disdain, and the Tarwaters overall callous demeanor they share as a family. 

They strike me as a more frustrated family in this smalltown who are forced to be the way they are because there's not much else for them to amount to. 

Nate and the rest of the characters have the same issue, but deal with their frustrations differently. 

Nate's enchantment over Gretchen, is hilarious. Plus, there's some elements to all of it that I didn't see coming!

John Ratzenberger and Amanda Bearse, both of whom have a very noteworthy acting career, fit their supporting roles perfectly within the tone of the movie. 

Also, Billy Zane stars in this movie as one of the Tarwaters, which cracks me up. It's obvious he's enjoying his role in the movie. 

I was pulled in fairly quickly watching this. It flows satisfyingly well with a welcomed comedic plot that knows what it wants to do rather than trying to find its footing as the story is rolling. It doesn't seem made up on the spot. 

To me, the plot morphs its way to something a little similar to "West Side Story" (or, I guess, "Romeo and Juliet") minus the singing and the pretty feelings. Instead, it's more like "The Bodyguard."

It's slightly predictable but certainly not as much as I thought it would be. I still had to watch it all play out. I wasn't disappointed either even as the movie culminates to a shrug. 

There's a satisfying satirical feel to it. 

Heder is great in this role as he doesn't try to sell the jokes. Rather, he puts the humor in his character's general disappointment in life, living with his mom, and keeping restrained with his mom's boyfriend intruding into his adult life. He uses his signature deadpan delivery hilariously well. And then Gretchen enters his life which gives him something to hope for.

"Tapawingo" is a comedy that deserves to catch on and acquire a large following, even if it slowly obtains all that over time.