Word: judds
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Dates: during 2000-2009
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...Johnson (Kevin Costner) is a loser, a wastrel, a jerk--and not one of the purportedly adorable kind in the Judd Apatow movies. The stupor Bud drinks himself into each evening leaves him barely able to drag himself to work the next morning, let alone care for his young daughter Molly (Madeline Carroll). His employer has been "insourcing" Mexicans who'll work for less money and firing hapless guys like Bud. It's no wonder that feeling disenfranchised, disaffected and perennially dissed, he belongs to what would be by far the largest U.S. political party: the We Don't Voters...
...root for these teens, even Megan, the somehow-poor little rich girl. But it's also tough to ignore their similarities to countless characters in teen dramas and comedies. John Hughes sculpted a career writing about kids like these in The Breakfast Club and Pretty in Pink; Judd Apatow's Freaks and Geeks mined the same vein. Burstein's film is way more earnest, but she's learned a lot, maybe too much, from the movies' take on teendom. Rather than offer a gritty view, upending the familiar vision of high school angst, she has fashioned a work so smooth...
...Judd Apatow had a problem. The test screenings for his movie The 40-Year-Old Virgin were killing. But the jokes that were really landing were the ones featuring pot. Sophomoric, Cheech-and-Chong-y cheap yuks about weed. But funny ones. He called his old friend Garry Shandling to ask whether he should leave them in. They went with the only responsible choice: comedy comes first...
...Mess with the Zohan Directed by Dennis Dugan; rated PG-13; out now Zohan (Adam Sandler) is the most feared and accomplished of Mossad agents. But what he really wants to do is cut hair. Working with top comedy writers Robert Smigel and Judd Apatow and dispensing with his standard idiot hero and bullying tone, Sandler fronts his most satisfying movie since The Wedding Singer in 1998. It's good, dirty...
...paradox of Kapoor's work is that it has debts to the blunt boxes of minimalists like Donald Judd and Robert Morris as well as to the weightless atmospheres of James Turrell. But the blend of heavy and vaporous, declaring and beckoning--that's all Kapoor's. That explains S-Curve. A long wall of bending steel, it's like one of Richard Serra's hulking stretches. But because of its mirrored surface, S-Curve dematerializes, the way Cloud Gate does, into a field of runny reflections that throws the world for a loop. It's art as metaphysical jujitsu...