Showing posts with label movies. Show all posts
Showing posts with label movies. Show all posts

Tuesday, September 06, 2011

Big News, Told With Movie Posters


is


?

That's right! So in less than


(less than


actually),


and we


for

.

Your two biggest questions: the


is late February. Now,


is a


and the kid COULD be born on Feb. 29.


you ask? Well to me: an 80-year-old who can't legally drink alcohol.

And... boy or girl? Well, we are


so we're not finding out and going to

.

Thanks to everyone for all your wishes and prayers!

Monday, February 14, 2011

Don't you ever imagine things differently from what they are?

Yesterday MPF and I went to see the Coen brother’s remake of the Charles Portis novel (and John Wayne classic) True Grit. It was a very good film that we be both enjoyed very much. Having never read the novel or seen the original movie, though, I can’t say whether the remake does either justice.

I can say, however, that the new True Grit led to the following revelation: Hailee Steinfeld should be the next Anne of Green Gables.

Can't you just see this girl smashing a slate over Gilbert's head?

Many of you know that I am a great lover of all things Anne. While I adore the 1985 made for television version (which was just re-released in widescreen HD… my copy is on the way) I can’t help but imagine the wonders that modern day cinema could do with a story as classic as Anne’s.

Recently, literary delights such as Pride and Prejudice and Jane Eyre have made a comeback in Hollywood. In the case of P&P, the story was retold in a manner that allowed this timeless classic to reach new audiences.

Which begs the question: why not Anne of Green Gables?


The last time LM Montgomery’s story appeared on the silver screen was 1934. It was so successful it launched the career of a little known actress named Dawn Paris who later legally changed her name to that of the title character: Anne Shirley. Similarly, PBS routinely showcases a variety of timeless stories on its Masterpiece program. And yet what do you inevitably see nearly every year during public television pledge time? An Anne of Green Gables marathon featuring the previously mentioned 1980’s made-for TV movie.

It is, in fact, the Kevin Sullivan produced television version that could be causing all the trouble. The roll of Anne, played by Megan Follows, was so well cast that anyone who tries to take her place will have big shoes to fill.

Megan Follows:the classic Anne.

Well, maybe Hollywood doesn’t think there is an actress with enough spirit to play Anne Shirley but I disagree. Ms. Steinfeld, the 14-year-old actress who is nominated for an Oscar for her portrayal of Mattie Ross in True Grit, has not only the pluck but the braids needed to make a successful Anne.

Carrots? Nobody calls me Carrots!

In the new version of True Grit, the character of Mattie Ross is much like Anne Shirley. A headstrong, willful young woman with grace and poise beyond her years (all of which Ms. Steinfield captured beautifully). She is also whip smart, has a fast tongue, and won’t take no for an answer.

And ok, Ms. Steinfeld doesn’t have red hair. But this is 2011; do we really need a natural red head to play Anne? It’s called hair dye and I bet Ms. Steinfeld knows how to use it.

I have no idea if there is even an ounce of interest in Hollywood to remake Anne of Green Gables. But if there is, I hope (pray) that the powers that be consider Ms. Steinfeld for the pivotal role of Anne.

As for the rest of the cast, I will leave that up to you: who do you think should star in an Anne of Green Gables remake?

Thursday, January 21, 2010

Bowling

Our bowling league starts tonight. I assume it'll look a lot like this:

Photobucket

And it'll sound a lot like this (warning: NSFW. Use headphones.)



Hopefully my teammates won't do this:

jesusliam

Yes, the "sports" tag assumes that bowling is a sport. Game on!!

Thursday, July 16, 2009

As Close As I'll Ever Get to Twitter

I got off the Clark bus tonight, heading home after having dinner with a friend in LP.

And Elton John was playing "Tiny Dancer" at Wrigley Field.

So that was pretty cool. But not as freaking awesome as THIS: (click for larger)

Friday, May 08, 2009

Free Movie Reviews

When you are out of work, you need to be creative to stretch the entertainment dollar. That means being on the lookout for cheap/free offers. Luckily for me, March was a freebie month.

It started with Einstein Brothers Bagels, who generously put two re-useable coupons in the paper: free small coffee on Monday morning and free plain bagel on Friday morning. I think I went every possible day while the deal was in effect. I’m pretty sure the Monday and Friday staff started to recognize me …a couple times I didn’t even have to show the coupon. “You, unemployed guy in the baseball cap. Today must be Friday, cause you’re here for your bagel. Okay, here it is, on your way.”

Not edible but also a great deal was Redbox. I understand the point of Redbox: $1 per night rentals of recent movie releases from a self-serve kiosk at convenient locations (McDonald’s and grocery stores). I do not understand the business model of Redbox: give away so many damn free codes that no half-sentient person ever has to pay for a movie. For example, if you give Redbox your cell phone number, they will send a text message with a free promotional code (one night’s rental) every Monday.

And in March, Redbox offered a free promotional code (one night’s rental) every Wednesday that month, then extended it to the first Wednesday of April because of a technical glitch one week. I mean, I saw this headline...

Redbox's $1 vending-machine video rentals worry movie studios

...after getting back from yet another free rental and thought the hed should be:

Redbox's $0 vending-machine video rentals ought to worry Redbox

Anyway, their loss. Being savvy to the deal (thanks to Clam), I trucked over to my local Jewel several consecutive Wednesdays to watch all the movies I had almost no desire to see while they were in the theaters.

My reviews follow. I will use the MPF Movie Rating System (Part 1 and Part 2 for your review) and a letter grade where appropriate. And because Hollywood generally gives movies dumb titles, I will rename the movies for more clarity and accuracy.

Forgetting Sarah Marshall.
My title: Judd Apatow: Hawaii*.

Technically, we got this one at Blockbuster, but it was right around that same time. The Apatow crowd makes another good-hearted, foul-mouthed film, this time about a guy who goes to Hawaii to forget about his girlfriend who dumped him. Except said ex is there, with her new funny-talking boyfriend (might be British). Apatow: Hawaii was funny in spots, with a good ensemble cast (the fat kid from Superbad had a too-small part).

MPF Score: 3.5. (You see what appears to be Jackie from That 70’s Show flashing the camera, but in the commentary track we are told those weren’t really her boobs. Besides, those points really should be nullified by the more prominent male genitalia.)

Pineapple Express.
My title: Apatow: Pot.

A stoner film in the fine tradition of Dazed And Confused, Harold And Kumar, and, uh, it appears they should have called this Pineapple And Express to carry on the formula. Seth Rogen plays a stoner who witnesses a murder and, along with his dealer, goes on the run from the bad guys. There was a little too much “bro-love” crap that slowed down the plot, and the ending featured a bloodbath of a shootout that didn’t fit the light tone of the first half.

MPF Score: 4.5.

The Siskel and Ebert of my generation.

There Will Be Blood
My title: Oil! Why the hell not, it worked for the book.

First of all, there was very little blood in the movie. There was a lot more oil. Even There Will Be Oil And A Lot Of It would have been a better title. This is a long, meandering, pointless movie whose only redeeming quality is a masterful acting job by Daniel Day Lewis. However, we already knew he was awesome from In The Name of the Father and his Oscar-winning cripple thing. So therefore this movie has nothing new to say. It’s not even an original idea—it’s based on an Upton Sinclair novel.

MPF Grade: D-.

Happy-Go-Lucky.
My title: Someone Please Punch This Woman In The Face Right Now.

I hated this movie. First of all, I couldn’t even understand one goddam word anybody said. I even turned on the friggin’ ENGLISH closed-captioning and still could barely follow it. Then, the main character was oppressively optimistic. She giggled and laughed at every stupid thing. When her bicycle got stolen, I cheered. So she takes driving lessons and meets the hero of the movie, the stone-faced driving instructor. I was hoping he would turn her into a normal person, but it looked like that wouldn’t happen so I turned it off.

MPF Score: 0. MPF Grade: F/Incomplete. (guest reviewed by Holden Caulfield)

This picture makes as much sense as that movie.

Nick & Norah's Infinite Playlist
My title: B&T Kids on the Loose

This was a TM pick, and I liked it more than I thought I would. The dewy-eyed kid from Superbad and a chick he kinda likes are Jersey teenagers on a quest to find a secret show in New York by their favorite band. I can relate to this a little, having chased down rumors that such-and-such a band is playing an after-show at some secret joint. Plus, all the action takes place in the Villages (Green-Wich and East) and Brooklyn. Having lived in New York, it was much more realistic to watch the kids on their quest, driving around the city and seeing all the venues and landmarks. I liked the movie enough to allude to it in my Blogspot profile.

MPF Score: 2. MPF Grade: B+.

Haunting of Molly Hartley
My title: Generic Horror Flick

This is the different between being 17 years old and say, double that. I bet I would have loved this half a lifetime ago: a wafer-thin plot about a girl (would you guess Molly?) who is being (want to guess? Haunted?) by ghosts or demons or whatever … hell, you don’t care, you just want your date to jump in your lap. Or for the movie to last long enough to get in a good makeout session. Every character is a stereotype, from the dull, out-of-touch dad to the rich kid who flirts with Molly to the weirdo Christian who tries to save her soul.

MPF Score: 0. My grade: C+ (if 17: A)

The Dark Knight
My title: The Batman Movie Not Called Batman Or Batman 2 Even Though It Is A Sequel

Last year everyone was all Batman, Batman, Batman, even though there was clearly not a film called Batman in the theatres. Turns out it’s this thing.

I think it’s nice and all that they filmed a movie here, but Batman? Batman is set is Gotham, aka NEW YORK CITY. While it’s always nice to see the beautiful Chicago skyline in a movie, it’s a little ridiculous when a guy in a bat costume flies past the Smurfit-Stone or the Standard Oil. The height of disbelief was when they showed lines of cars on Wacker Drive near State Street, with Marina City towers visible, and a cop talked about getting everyone out of the City through the bridges and tunnels. Hah! Maybe only people who have lived in both Chicago and Gotham would get that, but I am one such person.

I took this picture of the Standard Oil building one cold day in 2003 when TM and I were walking around downtown.

As for the movie itself: too long, too confusing**. It’s too bad the Joker killed himself but there’s always Jack Nicholson.

MPF score: 4 (Chicago points nearly revoked though)

Burn After Reading
My title: Actually, I’m okay with Burn After Reading

This movie is promoted at the beginning of my Big Lebowski DVD. I was curious enough, knowing it involved the Coen Brothers and Frances McDormand (awesome together in Fargo, awesome separately in Lebowski and Almost Famous, among others).

This movie was funny. Hilarious. I laughed out loud at least twice, and then about four times in the final five minutes, which might be the funniest final five minutes in American cinematic history. (1992’s Diggstown still is the most surprisingly enjoyable…this was just flat out hilarious.) Several actors were much funnier and well-played than I expected (the types of guys who show up in Ocean’s Fifteen type movies). The Coen brothers strike*** again.

MPF score: 5.

The updated spreadsheet is here...select tab "redbox reviews" if it doesn't default to there. Hope you enjoyed it.



* -- I think all Judd Apatow movies should follow this formula. It would be a lot easier to keep track of them all… Apatow: Virgin. Apatow: Pregnant. Apatow: High School. Apatow: Amusement Park. Apatow: Mall Cop.

** -- I am told my confusion keeping all the characters straight was because this was a sequel. If so, why didn’t they call it Batman 2, Son of Batman, Batman’s Revenge, Return to Batman, Batman and the Temple of Doom, something like that?

*** -- a bowling pun. But you got that.

Ohhh, one more picture. It is so pretty.

Thursday, February 12, 2009

Things I'm Not Paying Attention To

Some people start a blog to inform the world what they ate for breakfast and what they think about crap like Mentos*. Some people start a blog to praise their favorite band or something else they care deeply about. Few blogs will discuss what's currently being ignored...

Things I'm not paying attention to, February 2009 edition.

The Oscars. Despite my recently documented passion for movies, I could care less about the Oscars. I like to restrict my Oscar paying-attention-to to decade-old Dennis Miller monologues. In a few weeks someone will win, someone will lose, and a few weeks after that no one will give a shit or even remember who won.

The economic stimulus package. Being out of work, it is possible that I should care. However, the size and scope of the plan has been changing constantly over the past couple weeks. I've been a fan of Obama since the last time I wasn't paying attention, but I just can't muster attention here. This is the federal government we're talking about. It will be months before they get to the projects funded by the stimulus, and it appears to be mostly infrastructure: building roads, bridges, schools. Admirable projects, but I don't want to build a bridge this fall, I want to get to work now.

PRESIDENT Obama. It's been a few weeks, and it is still pretty mindblowing to hear those words.

Who's coming to town (musically speaking). This is due to being low on money, and this is sad. I've already missed Kathleen Edwards, Rhett Miller and a road trip to Southgate House. I just can't pay attention to who else I'll miss.

The rules of the Grammys. How can a record released in 2007 win best album in 2009? I mean, I guess they have their rationale, but it's bullshit to me. If you're going to call it an award for 2008, make it for albums released in 2008.

Darwin's birthday. I guess he's 200 years old or something. Not sure why people care. Did he ever free the slaves? No. What's he famous for anyway? He wrote some book about fruit: Oranges and Peaches. Big deal. I've read the book of Genesis, and I didn't see his name once.

The Allman Brothers don't know from oranges, but they do have some advice for Mr. Darwin.

Oh, and a late-breaking thing to not pay attention to: Brett Farve, Favruh, whatever. Can this guy just quit, please, and mean it?


*--Lame.

Wednesday, February 04, 2009

How to Tell a Good Movie: Part II

In Part I, we discussed the seven key attributes of good movies. To complete the list, here are the three optional traits. These are not required for a good movie, they just simply add to an already good movie, or potentially redeem a not-so-good movie.

Swearing. A few curse words used for effect can enliven a movie and increase the realism. Take The Big Lebowski or Superbad. These movies are funny on their own, but the well-timed/frequent swearing makes it all the more enjoyable. The absence example could be Napoleon Dynamite. This movie wasn’t good at all, despite the hype, but it wasn’t due to the lack of swearing. Geez! Gyosh! Likewise, swearing alone won’t make a bad movie good: I’m looking at you, Phone Booth and Snatch.

Boobs. Let’s face it, everybody loves beautiful women—even straight women. And while boobs alone can’t make a bad movie suddenly good, they are nice to look at. Boobs can make a sexy movie like Damage sexier, a funny movie like Caddyshack even funnier, or a just plain weird movie like Mulholland Drive a little easier to watch.

Stuff blowing up. Now, this may seem to contradict what I said about big-budget action blockbusters, where they replace dialogue with stuff blowing up. It’s important to understand that explosions are a supplement, not a requirement. In a movie like Independence Day or Speed, there is action and pacing and plot (however thin) that propels the movie. In a movie like Elizabethtown, well, maybe that could’ve used some stuff blowing up.

So now we’ve got the seven main and three optional elements. Several all-time greats, plus a handful of others, are scored according to my system in the spreadsheet. (Keep in mind the tally is directional, not purely numerical. A “7” isn’t automatically better than a “6”.)

Click here to view the MPF Good Movie System in action. If that's not working, try this non-graphic version. Commentaries on the best ones:

The Blues Brothers: Clearly a good movie because it contains seven of the 10 traits, including the rare trifecta of music, Chicago and Nazis. (Joliet Jake hates Illinois Nazis.) In addition, things blow up (a phone booth, Elwood’s hotel) and they swear in front of a nun.

Being on a mission from God could qualify as a moral theme of right and wrong.

The Godfather: A sweeping epic with an understated score, that haunting theme that echoes throughout. It’s got moral conflict (Michael shooting the cop), boobs (Appalonia) and mobsters(recognized as Nazis under the Mafia Corollary).

Oooh, and it's got cannolis. We loved getting cannolis in Little Italy, down by Chinatown.

The Sting: Set in Chicago, Robert Redford seeks out Paul Newman to get revenge on a mobster-type who killed his friend. Funny dialogue, occasional swearing, and Scott Joplin ragtime music.

Almost Famous: Aside from the fantastic music (at least three dozen great songs) and storytelling, it contains probably the best scene in cinema this decade. The decade is only 91% complete but I feel safe in calling it.

Clear and Present Danger: Great moral themes, great tension and superbly drawn characters. And stuff blows up.

The Fugitive: Take the best of C&PD, the best of The Sting, throw in Inspector Javert from Les Miserables, and you’ve got a movie much stronger than its “6” score.

The Big Lebowski: I didn’t realize how much I loved this movie til I got it for Christmas. It comes so close to scoring on Character Development (Walter, MAYBE) and Nazis.

Donny: Are these the Nazis, Walter?
Walter Sobchak: No, Donny, these men are nihilists, there's nothing to be afraid of.

The Dude abides with a score of 5.5.

Say Anything: Basically, it's Almost Famous, set in Seattle, no boobs.

Mystic River: Stunning, dark character tale of three friends in Boston. A murder brings back old scars from childhood. Great plot, great dialogue, great themes of right and wrong.

The Sound of Music: Make fun of this for being cheesy if you dare, but check out the scores: music, Nazis and right & wrong give it a solid 6.

And by request, The Cutting Edge: A movie about ice skating. I recall nothing special about it: it scores a “2” for plot (it had one) and character development (the ice queen thaws at the end).

It’s been a while since I’ve seen many of these, so if there’s a factual error, leave it in the comments. Please feel free to use this rating system when you’re trying to decide what to watch/rent. Happy screenings!

Monday, February 02, 2009

How to Tell a Good Movie

Let's clear up a misconception. People often say to me: “You don’t like movies.” This is not true. I think it is more accurate to say: “I don’t like spending money on the empty Hollywood productions that do not contribute anything to society.” After all, I bet I’ve seen more movies at independent/arthouse venues in this town (Music Box, Facets, Gene Siskel) than you have. At least I’m not as dismissive as the poet Rivers Cuomo who said: “Movies are as bad as eating chocolate ice cream: they only sicken me.”

Look at it this way. The section of the newspaper where movie listings are found is called “Arts and Entertainment,” or something similar. Too many modern movies are missing the “art,” and usually fail badly in their attempt at “entertainment” as well. I want to watch movies that are enjoyable and hopefully have some lasting impact on culture.

But where to start? There were almost 1000 movies released last year—not even dedicated cinephiles can see all of them. Luckily, I’m here to help. I’m pleased to present (“an MPF004 Production of a TMMPF.com post”) the second in my “How To Tell” series: How to Tell a Good Movie. Just look for a movie that contains most or all of the characteristics listed below.

A quick word on terminology: Example supports my point. Absence example shows how bad movies lack the trait in question and bolsters my point. Counterexample challenges my theory with good movies lacking the trait. Rebuttal lists bad movies with the trait. And a note: These are guidelines, not ironclad rules. The presence of attributes does not guarantee a good movie; absence does not guarantee it’ll suck. However, if you find a good movie absent most or all of these traits, I’d love to know about it.

Does True Grit = Truly Great in the MPF system?

Plot. This may seem obvious, but you’d be surprised how many movies don’t have one, and how many potentially good movies are hampered by lame ones.

Example: Malice, The Usual Suspects. Malice has a nice setup: the lives of an ordinary New England couple, trying to get pregnant, are upset when a surgeon they know operates on the woman after a car accident. Then things get dicey from there. Similarly, Usual Suspects weaves information into the plot that keeps the viewer guessing until the very end.
Absence example: Dude Where’s My Car. This movie has no plot and is not a good movie.
Counterexample: You could make an argument that documentaries don’t have a plot per se. But their topic is the plot, in a sense. Plus good documentaries like Wordplay find a way to generate plot amid the most mundane of topics.

Dialogue. I’m talking intelligent dialogue here, conversations that reveal character details, further the plot or provoke emotion. (This became more important when the “talkies” were introduced in the 1920s.)

Example: Anything by John Sayles, especially Lone Star. The characters’ conversations with each other drive the movie and force you to reconsider each one’s motivations. (I saw John Sayles on a cable movie channel once and he introduced the film this way: “I’m John Sayles, you’re going to watch my movie Lone Star. It’s about {pauses, thinking} people who have more in common with each other than they realize.”) Others: Ed Burns’ first two movies, Last Days of Disco.
Absence example: Snakes on a Plane-type blockbusters and slasher flicks. Generally these movies are driven by hype and star power, and contain nothing worth hearing. And they usually aren’t good movies.
Counterexample: Cast Away. Haven’t seen it, but apparently Tom Hanks goes hours and hours without talking, and people liked it.

Character development. In good movies, the characters learn from their mistakes, go through a transformation, understand how the world works or just grow up as human beings in general.

Example: You Can Count On Me, Superbad. Mark Ruffalo’s wounded, brooding character learns to let go of pain through his dealings with his sister (Laura Linney) and nephew (Rory Culkin). Likewise, the Superbad kids learn a little about life and women and come out better for it.
Absence example: Rain Man. The Rain Man character is exactly the same person at the end of the movie as the beginning. Therefore, this is not a good movie. (This is a joke.)
Counterexample: Ummm, Beavis and Butt-Head Do America? That was pretty funny, and nobody evolves or learns anything.

Well, *I* thought it was funny.

Nazis. Everybody hates the Nazis. They were the biggest threat to civilization in the 20th century. And nothing, not the Russkies during the Cold War or Arab terrorists post-Cold War, can fill the role of enemy in a good film quite like a batch of goose-stepping Nazis.

Example: Casablanca, Schindler’s List, The Sound of Music, Raiders of the Lost Ark.
Absence example: Drillbit Taylor. No Nazis, not a good movie.
Counterexample: Shaft. John Shaft is a bad (shut your mouth), and Bumpy is a gangster. No Nazis but still pretty awesome. Although I should mention here the Mafia Corollary, which states mobsters have a similar tendency to make a good film.
Rebuttal: Is it possible to make a not-great movie with Nazis in it? I didn’t see Valkyrie, but it had Nazis, heard it was only fair.

Music. Saying one art form is necessary in another art form sounds like using meat as a condiment on meat. But it’s true: the right music at the right time can transport a movie from good to great.

Example: Almost Famous, West Side Story, movies about bands (like I Am Trying to Break Your Heart or Stop Making Sense). Everyone knows how incredible the boombox scene is from Say Anything or the “Tiny Dancer” scene from Almost Famous. I could go on and on here.
Absence example: Charlie’s Angels 2: Full Throttle. Didn’t see it, but there was no memorable music. Not a good movie.
Counterexample: Swimming Pool. This movie had no music to speak of, and it was good. It did have other key attributes, however.
Rebuttal: The only bad movie with good music I can think of is Empire Records. Great tunes, worthless film. I'm Not There wasn't awful, but a movie with all Dylan songs should be better than it was.

Chicago. New York greatest city blah blah spare me. You want real film action, you come here. Some of cinema’s most memorable movies made their home right here in the Windy City.

Example: Ferris Bueller’s Day Off, the Sting, the el chase scene in The French Connection.
Absence example: Sex in the City. Not set in Chicago. Didn’t see it, guessing it was set in Manhattan.
Counterexample: Forrest Gump. A very good movie, set in rural Alabama and the worldly places Gump visits. Chicago not on the list.
Rebuttal: What Women Want. Being set in Chicago was about the only noteworthy thing about this film where Mel Gibson can read women's minds.

A good excuse to run the picture of Steve McCroskey.

Strong moral themes of right and wrong. You can have a movie about a dog or a tornado or whatever, but if you want to go for greatness, you need characters tested by big fat universal choices of good vs. evil.

Example: Most any Harrison Ford movie will do (especially Clear and Present Danger but also Frantic and the third Indiana Jones); The Limey. This overlooked indie gem stars Terence Stamp as a ex-con who travels to Los Angeles to find out who killed his adult daughter. Unrelated but very cool: the director used clips from Stamp’s films in the 1960s to portray the character as a younger man in flashbacks.
Absence example: Helvetica. This 2007 documentary about the ubiquitous font contains no moral themes. Helvetica just ... is. (I'm not saying it was an awful film--but it was a documentary about a font, after all.)

There are your seven key traits. In Part II, I’ll discuss the three optional attributes, and we’ll run some of the best films I know through the gauntlet to find some truly great movies.

Anybody think this will make the list?

Wednesday, November 19, 2008

MPF Ranks the Muppets

Last night we saw “The Muppet Movie.” I don’t know if it was a quid pro quo per se for going to see the Hold Steady at the Riv on Friday, but I ended up liking the film more than I thought I would.

There are a lot of characters in the movie. Some I liked, some I didn’t, some I ignored. Here are my rankings of all the Muppets worth mentioning.

  1. Sam the American Eagle
    Sam is the greatest of all Muppets, just like America is the greatest of all countries. He upholds decency and American values. He is the Constitution of Muppets, the White Album of Muppets, the Cal Ripken of Muppets.

  2. Statler and
  3. Waldorf

    Statler gets the edge for being more of an instigator of cynical humor, whereas Waldorf picks up the loose ends and the lines already set up for him by Statler. But don’t get me wrong, it’s a thin line: they are both completely awesome Muppets.

  4. Fozzie BearHe tells jokes. He drives a Studebaker. He helps Kermit not get killed early in the movie at the El Sleezo Cafe. He pulls out a guitar at one point. And, as this photo proves, he sometimes wears a backwards “PRESS” badge in his fedora.

  5. RowlfI know, I know, I wasn’t expecting a dog to rank this high either. But Rowlf is cool. He plays piano, has a not-too-optimistic worldview, and has good lines in the movie. Example: describing the end of an okay night out, he says, “I’ll just have a couple beers, take myself for a walk, and go to bed.” And like Fozzie, he also has some journalistic experience, as the photo shows.

  6. Kermit the FrogThe hero, the symbol of all Muppets. Kermit plays banjo and gets high marks for leading the gang on a journey to follow their dreams, but loses points for taking that trip to Hollywood (land of phonies) and thinking it would be better than the small town he came from. He also dates Miss Piggy (keep reading for more on that) and has a nasally singing voice that can be grating on a solo like “Rainbow Connection.”

  7. SweetumsI thought this guy’s name was Jack. No wonder I couldn’t find him on Google. Turns out that was the job he had at Milton Berle’s car lot, not his name. Anyway, look at him. He’s fricking enormous and could probably snap any of us in half. And yet he does not use his size for violence. Due to a misunderstanding he spends the whole movie trying to catch up to the gang, and you gotta feel for him.

    Bonus picture of Sweetums delivering a speech on the underlying themes of man's struggles with technology evidenced in the writings of Michel Foucault.

  8. Dr. Teeth and the Electric Mayhem Band (Dr. Teeth – keyboards; Sgt. Floyd Pepper – guitar; Zoot – saxophone; Janice - guitar, vocals; Animal – drums)
    These guys are all pretty much the same to me. I didn’t really discern any personality amongst any of them except Animal, who is a total nutcase.

  9. BeakerBeaker mumbles and blows shit up. That’s cool.

  10. AnimalThe only member of the band to get his own entry, cause he’s grade-A nuts. They gotta keep a chain around his neck like the Gimp so he doesn’t go berserk. I don’t particularly like or dislike Animal, but I respect that he is a barely coherent lunatic.

  11. Swedish ChefBORK BORK BORK. I always thought he said “boorsha boorsha” or something like that. It’s highly unlikely thousands of fanatical Muppet fans on the Intergoogles are wrong and I’m right. Much like the above two entries, if you can't speak in understandable complete sentences, you are not going to break the Top Five.

  12. The Great Gonzo


    I can hear TM saying, "No, not that one!!"

    OK, this Gonzo was nothing special. I don’t remember particularly liking him as a kid, and no one knows if he’s a bird or what. At least most of the characters at the top of the list have the courtesy to have their species in their name.

  13. Dr. Bunson Honeydew

    Bunson invents cool stuff like the instant growth pills that make Animal enormous (a plot device I saw coming a mile away, by the way. I knew the nutjob would eat all the pills). Anyway, science is boring, so he scores low.

  14. Camilla the ChickenWhat a waste of a character. I don’t understand what she was doing in the movie. Even Sam the Eagle, who was almost invisible, had more lines than the chicken. Added nothing to the film.

  15. ScooterCan't imagine what this guy did to get arrested. The band manager, or roadie, or hanger-on, or whatever. Looks like a nerd, had no impact on the movie.

  16. Everybody else (the boomerang fish guy, the explosions guy, anyone who wasn’t in the movie, etc)
    Ehhhh .... if I can't remember your name .... you ain't worth it.

  17. RobinWhy does Kermit need a nephew? I couldn’t even find a decent picture of him alone, so I’m including this one of Bernadette Peters, who is twice as lovely and funny as Robin.

  18. Miss PiggySelfish, self-centered and vaguely French. Her arrogance and shoddy treatment of the Frog earn major negative points with me, landing her squarely in last place.


A second Hunter Thompson picture isn't absolutely necessary, but this quote is.