There simply hasn’t been a better satire since . . . well, since South Park: Bigger, Longer and Uncut. Matt Stone and Trey Parker carve up American idiocies and icons, and as is their custom, they fear no maven of political correctness nor do they take the easy shot. Of course, they do that sort of thing regularly on South Park, but not with puppets, and not with Broadway-worthy anthems. Offensive on almost every level, from the hilarious spoof of Rent (Lease) and its signature song:
to the jingoistic, red-white-and-blue power chordy
Casting marionette Alec Baldwin as not only the greatest actor ever, but also the head of a subversive Film Actors Guild (yes, F.A.G.) is genius, and if you’ve ever wanted to see the coterie of noxious celebrity dunces portrayed as members of a S.P.E.C.T.R.E.-like organization, only to get their comeuppances in the form of horrifically violent deaths (as marionettes, mind you), you’re in for a special treat.
Susan Sarandon is particularly good:
Apparently, Sean Penn was offended, but Sean Penn was offended when Chris Rock poked fun at Jude Law during the Oscars.
Be warned. If you supported the ouster of Baldwin from MSNBC because of his homophobic broadsides against paparazzi, or you were hurt and dismayed when that woman on MSNBC made fun of the Mitt Romney family photo, or Rush Limbaugh’s broadsides against just about anyone furrow your brow and get you thinking about “positive action” or “inclusion” and “dialogue”, or the recent South Park where the boys cannot comprehend that anyone would name a psychological condition “Assburgers” made you think, “Where is the FCC in all of this to protect the children?”, this is not the film for you.
Or, it’s a necessity.