A Quote by James Berardinelli
I could start this review by stating that Dumb and Dumberer lives up to its name, or by calling it stupid, moronic, and idiotic, but I believe that approach is a trap, since a movie like this might relish being the object of such bland invectives. Instead, let me try a few that can't possibly be misconstrued as twisted praise: unfunny, boring, torturous, and unwatchable. ... [N]o movie could be more aptly compared to raw sewage than this film - Directed By Troy Miller.
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Marketing does have a lot to do with the success of a film. But even more so, and especially since home video, I've learned that a movie has a life of its own. A movie goes out there, and it exists, and it continues. I'm always fascinated by what movie people bring up when they approach me.
There's something inherently more appealing about the idea that you could reveal and tell stories about characters over the course of a TV season - 13 or 26 episodes, whatever it might be - than in the course of one two-hour movie. You can do so many more novelistic kinds of things on a TV show - with time, with gradual development of relationships, and so on - than you could possibly do in a movie. And that is very appealing.
Occasionally an unsuspecting innocent will stumble into a movie like this and send me an anguished postcard, asking how I could possibly give a favorable review to such trash. My stock response is Ebert's Law, which reads: A movie is not about what it is about. It is about how it is about it.
I've kept the people who've been in my career who I feel are my family. Kathy [Kennedy] had been with me since 1978. Janusz Kaminsky, my cinematographer, has made every movie with me since Schindler's List. Michael Kahn has cut every movie I've directed since 1976 when we made Close Encounters together. Rick Carter has done more than 15 of my directed films as a production designer.
The first role I ever played I had the lead and it's pretty much stayed that way, though people take great relish in calling me a character actor, which I am. There are a lot of short parts I could play, but I only do them when they are like this ("A Few Good Men"), central to the idea of the movie.
I couldn't take my eyes off of Stan [Lee]! As good as the movie is, all I could think about is, "What's he thinking?" So the movie ended, and then he, very whimsically, expressed all of his feelings about how long he waited, and how the TV shows in the '70s were all, "If only they could do this," and now they could. And he didn't get choked up and blubbery, but he was moved. Like, "Ohmigod, it happened while I was alive." And I can't believe I got to see that. He was very raw. It was quite beautiful.
I've realized that what you think of when you make a 'big movie,' if it's actually a green screen movie, it's like doing independent New York theater because you don't have any backgrounds or props. So it's kind of like making the lowest budgeted film you could possibly imagine, plus $100 million.
I directed fourteen movies. Every movie had Hector Elizondo. He didn't like Beaches. I don't know, it was originally not a happy movie at all, it was much sadder than that. And they brought me in to kind of make it a little more 'warm', I guess you might call it. The original ending was a whole messy thing.
It's just like they approach things on every movie I've worked on, very much as if it was a live-action movie. The character you're playing, even though he's a rooster and is really stupid, you approach it in the same way you would approach Hamlet, which is exactly how I approached it. But they give you the circumstances. "You're on the boat. You didn't expect to be here. You just climbed in a boat to maybe sleep. You don't even know why you climbed in the boat. You're really that dumb.
I know this is stupid, but part of me felt like if I could come see you today, if I could convince you to go with me tonight, then maybe I could still change things. It's dumb, I know. It's not like Levana cares if I, you know, might have actual feelings for someone.
Yuki: What could I learn from a stupid cat like you? You didn't even know that Jason isn't really a bear! He's a character in a horror film!
Kyo: So what if I didn't know? Like I'd waste my time watching some dumb movie about a bear!
Yuki: You truly are an idiot...
I totally heard by chance that they were doing the casting for a James Bond movie, and that one of the auditions was taking place in Paris. So I tried myself to contact every name involved in the movie I could possibly find on the IMDb!
I suppose they call me a woman's director because there were all these movie queens in the old days, and I directed most of them. But I also directed Jack Barrymore and Ronald Colman and James Stewart, to name a few.
I suppose they call me a womans director because there were all these movie queens in the old days, and I directed most of them. But I also directed Jack Barrymore and Ronald Colman and James Stewart, to name a few.
Nothing could be more boring than an absolutely accurate movie about the law.
I got a call from Tom Hanks, who directed That Thing You Do!, when he was done cutting that film. I was like, "Oh, my god. Tom Hanks is calling me. This is amazing!" And then, of course, he was calling me to tell me that I was barely in the movie. But I'll never forget it - and this is why he's Tom Hanks, because he's got such a way with words.
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