DID YOU READ

Master makeup artist Rick Baker on “An American Werewolf in London” and “Men in Black III”

Master makeup artist Rick Baker on “An American Werewolf in London” and “Men in Black III” (photo)

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It’s hard to believe “An American Werewolf in London” is thirty years old. It looks way too good and scares way too hard to be a three-decade old film. A lot of the credit for the film’s longevity goes to the film’s master makeup artist Rick Baker, who designed its creatures and engineered the movie’s legendary transformation scene. Once you’ve seen David Naughton become that wolf in “American Werewolf,” you never forget it.

Baker came down to Fantastic Fest 2011 to take part in a 30th anniversary screening of “American Werewolf” that included a new ultra rare Mondo print by Olly Moss. Here’s a picture. Cue lycanthropic jealousy in 3…2…1….

mondo-american-werewolf-09262011.jpg

While Baker was in Austin, I was lucky to get to talk to him for a few minutes. I took the opportunity to discuss the making of one of the greatest horror movies of all time, uncover a few morsels of info about his work in next summer’s “Men in Black III,” and pick his brain about the most underrated movie makeup of all time.

When was the last time you saw “American Werewolf?”

There was a screening at the New Beverly or the Nuart or something when the Blu-ray came out, and that was fairly recently.

And what did you think seeing it again fairly recently?

I cringe looking at some of the stuff in the transformation.



What?!?

Yeah. It was thirty years ago and I was thirty years old and the average age of my crew was like nineteen. There were kids who had never worked on a film before. I do think it’s pretty amazing that people still hold it in pretty high regard, this thing that was done by a thirty year old and nineteen year olds who’d never done this stuff.

Looking back at a thirty year old movie, it can sometimes be hard to tell just what was groundbreaking when it first came out. In your mind, what was the really revolutionary stuff in “American Werewolf?”

People always talk about the transformation, but I think the film was so ahead of its time in so many ways: the blend of horror and comedy and the way music was used. So much was innovative about that film. That’s probably why people still like it so much. But it was definitely a showcase for the kind of stuff I do and I was so thankful to have that opportunity.

John Landis wrote this movie when he was a kid. When I did [makeup on] John’s first movie “Schlock,” when he was twenty-one and I was twenty, he had already written “American Werewolf.” We shot the movie he originally wrote back then. The only exception was the porno theater was a cartoon theater in the original script, because it really was a cartoon theater when John was in Piccadilly while he wrote it. It had since changed to a porno theater, so he changed that part. It was one of the few times in my career of forty years working in films that we had a script and we actually shot it.

How collaborative were the creature designs?

I’ve learned over the years to appreciate John because he comes to work prepared. He wrote the script and he knows what he wants. He would describe the shot to you, he would listen, and he would say things like “You’re the expert at what you do and I want you to do it. That’s why I hired you.”

He gave me a lot of freedom, although I wanted to make the wolf a biped and he said “No, I want this four-legged hound from hell.” I kept trying to talk him into the two-legged wolf. “No. Four-legged hound from hell.” So I made it. It wasn’t like it is today where I have to do 2,000 Photoshops. No, it was just “Make a four-legged hound from hell.” So I sculpted it, made a mold, and made it.

I feel like the underrated creature/monster things in “American Werewolf” are the Nazi ghouls in David Naughton’s nightmare.

They don’t get enough credit for being as truly terrifying as they are.

I wanted to do more. They’re basically Halloween masks. They’re soft rubber masks that don’t move. And John said, “That’s all I want. They’re going to be seen in really quick cuts so there’s no reason to do anything else.” But I think they do pretty much look like Halloween masks. It is still a well-done sequence.

But there’s something scary about the way they don’t move. It makes them seem more unnatural and otherworldly, which fits the fact that it’s a dream sequence.

When I do a mask, I do try to put a lot of character and a lot of expression into the sculpt. The bald Nazi guy grimacing with the machine gun, that was me, looking in the mirror making faces and then drawing and sculpting that.

Are you often your own model for a character?

A lot of times, yeah. And I think it’s true of a lot of creative people because they’re the only ones there when they’re working. “What’s it look like when a person makes that face?” And you look in the mirror and go from there.

When you say that these days you’re doing a lot of Photoshops and thousands of versions of designs, is that for “Men in Black III?”

That’s any movie these days.

That’s just the way it works now.

Yeah. I’ve been using Photoshop since 1.0, twenty or twenty-two years ago now. It was love at first sight. Never picked up a computer before that.

It’s interesting because I feel like your makeup work is so good that you’ve become sort of this de facto spokesperson for practical effects. I read interviews where people expect you to defend practical makeup and bash CGI. But you’re a guy who likes working with both sets of tools.

That’s because I’m a fan of the stuff that happened before me. Jack Pierce, who designed Frankenstein and The Wolf Man and the great Universal monsters, was eventually kicked out of Universal after saving their asses so many times because he didn’t change with the times. He was still doing stuff with cotton and collodion when other guys were using foam rubber. That’s why he lost his job, so that got tucked away in my brain. I always want to stay on top of things.

It’s fun doing new things. It’s another trick in the bag of tricks. I think it’s a great tool. The thing I dislike about digital is that it’s made for sloppy filmmaking because of the fix-it-in-post attitude that has come along with digital. So you don’t have to think about it now, you don’t make the decision now, you can think about it later and figure it out later. I don’t like that. When I did “Schlock” with John, I did two pencil drawings and said “You want this one or this one?” And he said “I like that one better.” That’s the one I made. On “The Wolfman,” for example, I did thousands of drawings. And it was like “Do one in between this one and that one. Now do one in between this one and that one.” Because you can. But I loved Photoshop the first time I used it; it was just so freeing to know that I could try things and I could always go back to what I had before, or I could take the eyes from this one and put them on this part of the face on this one.

You mentioned the famous Pierce makeups, Frankenstein and The Wolf Man. We all know those. What’s a great example of movie makeup that’s underrated, that never gets the recognition that it really deserves?

That’s a good question. In general, the things that don’t get appreciated are the human kind of makeups. The things I always liked so much about Dick Smith was he could make human makeup work. Dick was the master of doing nice, subtle makeup. People always go “Oh yeah, a werewolf, cool. Aliens, cool.” Real cool is the Father Merrin makeup in “The Exorcist.” Most people who saw the film didn’t know that was a younger man playing an older man. That’s one of the ones that gets appreciated by a lot of makeup artists.

All right, so “Men in Black III” is next. What should we expect from the movie?

I made, at last count, 105 aliens. A lot of aliens, a lot of crazy stuff.

Should we count all 105 while we’re watching the movie?

[laughs] We’ll see how many make the final cut. Something I’ve learned from working on the other “Men in Black”s is that we’ll do aliens as if you’re making a whole movie about this specific alien. It will good enough to hold any kind of close-up, and it’s usually in a panning shot for two seconds, or it’s so far in the background you don’t even know it’s there until you watch it 47 times, which I guess is part of the success of the series. It is cool to spot things you never saw before.

What drives you to pick a project at this point? Is it the director? Is it the material?

I’m definitely at a point in my life where I’m trying to be a little more selective. When my parents died, it became clear to me that there was an end in sight. Death was never a real thing to me. And then when that happened I realized I only have so many years left, if I’m lucky. I don’t want to be doing movies that I don’t want to do. They take so much out of you. I took some time off and got rid of crew that I kept on for fifteen years. And people don’t call as much anymore, actually.

What?

Yeah. I think when my name comes up my competitors say “Oh yeah, he’s retired!” Or they say “I’m sure he won’t want to do this movie because he’s too big to do this.” “Men in Black III” they called me, and I was really happy to do it because I really enjoyed doing the other films. It felt great to be part of it again.

Is there a technical challenge that you’ve never done that you still feel like you need to conquer?

If I died today I would be happy with what I’ve done in my life. But I hope I don’t die today.

Where’s “American Werewolf in London” rank amongst your favorite horror films? Tell us in the comments below or on Facebook and Twitter.

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Optimus Prime in TRANSFORMERS: AGE OF EXTINCTION, from Paramount Pictures.

Rotten Apples

10 Rotten Movie Franchises That Need to Stop

Catch the "Too Rotten to Miss" movie Scary Movie 2 tonight at 8P on IFC.

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Photo Credit: Paramount/courtesy Everett Collection

We live in the age of the blockbuster movie franchise. If you want a green-light, you better have tights, a light saber and decades worth of backstory and fan love to build on. And while we love some of these franchises, some just keep getting new entries despite horrible reviews, audience indifference and an utter lack of care from even the people making them.

With IFC and Rotten Tomatoes celebrating “too rotten to miss” movies like Scary Movie 2 this month, we thought it high time to point out just a few franchises than should be retired to the bottom of your Netflix queue. Here are 10 “rotten” movies franchise that need to just go away, please.

10. Transformers

Transformers
Dreamworks Pictures

Hollywood execs, we get it. You grew up in the ’80s, and now you want to produce everything you loved as a child, only make it a lot worse. Here’s the thing: while a show like Stranger Things took all the tropes and style of ’80s movies, and created something new, lingerie commercial director Michael Bay went the opposite way, taking a title and basic concept, and creating a pile of garbage made out of robot parts.

If poop jokes mixed with racism, misogyny and incoherent fight scenes are your thing, this is the franchise for you. If you have even the slightest respect for character or basic story logic, you have to admit this franchise has been awful from frame one. Yes, we were alive in the ’80s, but some things are best left in the past. Unfortunately, with a sixth movie, a Bumblebee spin-off and a proposed G.I. Joe/Transformers crossover movie in the works, this franchise will probably outlive us all.


9. Scary Movie

Scary Movie
Dimension Films

True, its been a couple of years since we’ve been subjected to one of these, but you know that Jamie Kennedy or the Epic Movie guys are sitting in a writers room somewhere, pitching jokes on how to merge The Purge with a fart joke. This franchise started out in a mediocre place, a Wayans family knockoff of better movies like Airplane, and things went downhill from there. You shouldn’t be able to spin five movies out of a few Scream jokes and a Carmen Electra cameo.


8. Alvin and the Chipmunks

Alvin and the Chipmunks
20th Century Fox

Designed to appeal to kids who love ’50s novelty albums and pun-y titles, the Chipmunk franchise feels like it was made by a prop comic from the Uncanny Valley. Full of rapping CGI rodents, and a paycheck cashing Jason Lee, 20th Century Fox has somehow made over a billion dollars off a series of diminishing “Squeakquels.” We do secretly sort of hope these movies keep getting made, just so David Cross keeps getting forced to star in them.


7. X-Men

X-Men Oscar Isaac
20th Century Fox

If we can all be honest with ourselves, these movies have been a mixed bag for the past decade. (Even the foul-mouthed spin-off Deadpool made fun of how self-serious the franchise has become.) In an ever expanding quest to turn the series into a dumbed-down version of the moody mutants’ ’90s cartoon, the stories have gotten paper-thin, the performances phoned in and the monster makeup just this side of Grimace cosplay. (We’re looking at you, X-Men: Apocalypse.)

Do we really need to see Hugh Jackman’s take on Wolverine for the ninth time? There is only so much steamed chicken and protein powder this man can eat before this franchise legitimately becomes a form of torture. Fox Studios, there are enough superheroes on the big screen right now. Maybe let this one go, and a decade from now Marvel can reclaim it and make some good movies again.


6. Tarzan

Tarzan
Warner Bros.

There have been over 200 projects starring Tarzan since pictures started motioning at the turn of the last century. 200! This vaguely racist story of a white man taming the, ahem, Dark Continent, has been told ad nauseam. We know Hollywood loves to keep beating iconic characters into the ground, and Tarzan probably has near universal name recognition, but that doesn’t mean that anyone wants to, you know, go and watch a movie about the guy, no matter how ripped Alexander Skarsgard’s abs are.


5. Teenage Mutant Ninja Turtles

Tarzan
Paramount Pictures

These “heroes in a half shell” were a stretch for movie stardom back at the peak of their popularity, but thanks to some ingenious work by The Jim Henson Company, and Vanilla Ice’s “Ninja Rap,” they were able to have a moment during the early ’90s.

Now, decades later, Michael Bay’s desperate desire to ruin all of our childhoods has found its way to these pizza loving turtles with ‘tude. The CGI monstrosities that have resulted can barely be called movies. Like the Transformers franchise, but with more creepy scenes of an anthropomorphic turtle hitting on Megan Fox, these movies are a nail in the coffin of ’80s nostalgia, and need to be put to bed before Bay starts sniffing around the Thundercats.


4. Now You See Me

Now You See Me
Summit Entertainment

Magic tricks are impressive when you see them performed live. The fun is in wondering how they could possibly do that. When you watch a bunch of Christopher Nolan castoffs performing CGI tricks created in post production, the only thing you’re left wondering is what the point even was.

This is perhaps the strangest movie franchise to come along in awhile, a collection of genres tropes quilted together by a cavalcade of filmdom’s best supporting actors. Take a bit of Ocean’s Eleven, and a touch of The Prestige. Add a pinch of Morgan Freeman and James Franco’s brother, and cross your fingers that audiences will be dumb enough to line up for a sequel to that movie they didn’t totally hate when they saw it on an airplane that time.


3. God’s Not Dead

Pure Flix Entertainment
Pure Flix Entertainment

The Christian movie genre has blown-up over the last decade. God’s Not Dead, and its sequel, were beneficiaries of this expanding audience, raking in tens of millions of dollars at the box office. But, despite connecting with an audience, all is not well in God’s Not Dead-land.

These insipid movies, that never met a straw man they didn’t hate, tell laughable stories about the evils of college campuses and the ACLU, full of cartoonish villains whose sole purpose in life is to crush good Christian souls. With a “who’s who” of “Remember Them??” in the cast, including TV’s Superman Dean Cain and TV’s Hercules Kevin Sorbo, these movies are as poorly produced as the message they’re espousing. God may not be dead, but the careers of the filmmakers behind these movies should be.


2. Bridget Jones

Universal Pictures
Universal Pictures

It’s been more than a decade since the last Bridget Jones movie was foisted on us, and in that time young Bridget has remained the same self-involved, unrealistically clumsy mess. With pacing that makes each movie feel 10 hours long, sub-par slapstick and an unlikeable lead, the Bridget Jones trilogy too often feels like Sex and the City without the sex or the city.

Just because the book series your franchise is based on churns out another entry doesn’t necessarily mean you need to get the gang back together. Well, some of the gang, considering Hugh Grant wisely let Dr. McDreamy himself Patrick Dempsey fill in for him this go around. Remember when Renee Zellweger was an acclaimed, Oscar-winning actress? Yeah, that was a long time ago…


1. Avatar

20th Century Fox
20th Century Fox

Seriously, is anyone really excited for the four sequels that James Cameron has promised us to this box office breaking blockbuster from 2009? Yes, at the time the 3D wonderland of CGI planets and tail sex was a revelation, making us overlook the fact that we were watching a hokey Dances With Wolves knockoff starring an actor with the approximate charisma of a broken toaster. But over the last few years, Avatar has slipped from the public consciousness. When’s the last time you popped in your Blu-ray of it, or saw someone cosplaying a Na’vi, or even mentioned it in casual conversation? If Cameron were making one sequel, okay, but four? FOUR? Maybe it’s best to just remember Avatar for what it was — a blue-hued fluke, and move on.

Catch the “Too Rotten to Miss” flick Scary Movie 2 this Friday at 8P on IFC.

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Grub Club

How “Juan Likes Rice & Chicken” Nails Foodie Culture

Watch "Juan Likes Rice & Chicken" anytime on IFC.com, Apple TV and the IFC app.

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We’ve all seen those delicious food documentaries that turn dinner into porn one slow motion shot at a time. Well, the boys behind Documentary Now! have too, and this week they’ve aimed their eye for spot-on homage at foodie docs with their latest episode, “Juan Likes Rice and Chicken.”

Here are a few of the ways “Juan,” which you can watch now on IFC.com, Apple TV and the IFC app, nails the absurdity of those Instagramming hipsters who treat food like fine art.

Foodies Will Go Anywhere for a Trendy Restaurant…Even Up a Mountain

“Juan” knows that foodies will hit up the latest hot restaurant, even if they have to march miles through the jungle without any water just for a taste of Three Michelin star-awarded chicken. And what if Juan doesn’t catch the bird and decides fate has determined there will be no chicken on the menu that day? Well, if you’re anything like the food chasing freaks that populate “Juan,” you muster a smile and tell yourself it was all worth it, as long as one Facebook friend is jealous of your trip.

They Obsess Over Celebrity Chefs

Juan Cast

Chefs used to be anonymous. They were the faceless folks back in the kitchen, doing the grunt work so you could enjoy a nice meal with friends and family. Nowadays, they are the Beyoncés of cuisine, attracting fans from around the world, dropping new restaurants like pop stars drop albums, and showing up on cooking shows more than pinches of salt. The monosyllabic Juan of “Juan Likes Rice and Chicken” is no different, despite the fact that he hasn’t left his jungle hideaway for decades. Once you start making waves in the food world, there’s no turning back. If you don’t come to the fame, the fame comes to you.

Comfort Foods Become High Cuisine

Juan Rice

Hot dogs. Dumplings. Donuts. Croissants. Croissant Donuts. Foodies love nothing more than discovering a new twist on a comfort food favorite. Except this common, everyday food isn’t like how mom made — it’s prepared by acclaimed chefs and often requires a second mortgage to taste. Juan’s cuisine couldn’t be simpler — a cup of coffee, a banana sliced in half, rice with a bit of butter and (on most days) chicken. But thanks to endorsements from chef David Chang and food critic Jonathan Gold, food geeks can’t wait to taste Juan’s take on a dish they could easily whip up at home.

Every Bite Is a Sensual Experience

Juan Rice

There is nothing a good food documentarian loves more than the slow motion shot. A fire exploding from a BBQ pit. Hands running through a barrel of coffee beans. Dew dripping from freshly picked parsley or a hand running through rice. “Juan Likes Rice and Chicken” knows that the trick to making foodies care about the seemingly bland items being prepared is to film them in slow motion. All of a sudden, a pile of nuts becomes a delight for the senses.

Offbeat Cooking Methods? Foodies Love ‘Em

Juan Cannon

It’s not enough to grill some chicken. Much like a famous Portlandia sketch, foodies want to know if it’s local, and will go to the ends of the Earth to find out. We want to believe that the best way to prepare chicken is to wrestle the bird to the ground, and if it bests us, it gets to live for another day. That’s why foodies flock to Juan, with his extensive list of “dos and don’ts” when it comes to food preparation. Of course you should shoot raw chicken through an air cannon. Why haven’t we thought of that???

A Foodie’s Dark Secret? They Love Bad Food

Diego Fun Restaurant

Here’s another secret of foodie culture that “Juan” understands: We secretly love crap food. Sure, we’ll trudge miles off course for the supposedly perfect chicken Juan prepares, but we also love to sneak away to Fuddruckers, or Juan’s son Diego’s “Fun Restaurant,” where you can write on the menu and have Skittles on your chicken. Now that’s worth Snapchatting!

Watch Documentary Now!’s take on foodie culture now on IFC.com, Apple TV and the IFC app
.

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Scary Movie 2 cast

Wrong Wayans

10 Rotten Wayans Brothers Movies

Catch the Certified Rotten comedy Scary Movie 2 Friday at 8P on IFC.

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Photo Credit: Dimension Films/Everett Collection

There was a time, not so long ago, that the Wayans family was synonymous with hilariously biting satire. With movies like I’m Gonna Git You Sucka and the classic sketch series In Living Color, the Wayans clan dominated culturally relevant comedy. But on the heels of those early successes, the Wayans began pumping out comedies filled cheap jokes and lazy spoofs that failed to match the incisive, message-driven works that the family produced in the late-’80s and early-’90s. Still, while all the movies on the list below are “Certified Rotten,” some are more dire than others.

Before you catch Scary Movie 2 on IFC’s Rotten Fridays, here are 10 movies that show the Wayans at their most (and slightly less) “rotten.”

1. A Low Down Dirty Shame (Tomatometer: 0%)

Surprisingly, the lowest rated Wayans movie on Rotten Tomatoes doesn’t contain a single Scream mask or CGI-faced toddler. Instead, it’s a poorly executed action-comedy written, directed by and starring Wayans elder Keenen Ivory. A far cry from his earlier acclaimed work, A Low Down Dirty Shame is a forgettable collection of mediocre stunts and jokes that can’t sustain itself either as an action or a comedy movie — and “forgettable” is the death knell for purveyors of outrageousness.


2. Fifty Shades of Black (7%)

The most recent entry in the Wayans’ oeuvre, Fifty Shades of Black is a spoof of a book whose parodies were exhausted five years ago. Rather than search for a new comedic angle to the novel’s corny BDSM meets Twilight fan fiction story, star Marlon Wayans (who also co-wrote and co-produced the movie) opts for the surface-level sight gags that always seem to anchor his family’s projects. Overuse of slapstick violence? Check. Cheap jokes at the expense of obese individuals? Check. A Kim Kardashian joke? Check and mate. Fifty Shades of Black isn’t so much a movie as it is an extended trailer from a different Wayans movie.


3. A Haunted House (10%) and A Haunted House 2 (8%)

Returning to the horror-comedy well for a double-dose of eye rolls and heavy sighs, writer-producer-star Marlon Wayans peddles the very same jokes that hit their middling apex with the first Scary Movie. From unseen poltergeists to dead-eyed dolls, Marlon proves there’s no overused horror trope that he can’t scream at and hit with a breakaway chair. But seeing as how both A Haunted House movies made substantial profits based on rock-bottom production costs, there will always be a market for lazy, easily recognizable parodies.


4. Little Man (12%)

For anyone who was dying to see Marlon Wayans’ face rotoscoped onto a horny toddler, your prayers were answered in 2006 with Little Man. A comprehensive argument against the advancement of CGI, the Marlon-baby hybrid sexually harasses woman and screams in homophobic panic when Shawn joins him in a bubble bath for a farting contest. (We wish we were kidding.) And you’ll never guess how Little Man reacts when he’s given a rectal thermometer! Wait, maybe you could.


5. Mo’ Money (13%)

After the world witnessed what the Wayans were capable of in recent years, this loose adaptation of an In Living Color sketch seems downright quaint and watchable. Written by Damon (who stars alongside Marlon), 1992’s Mo’ Money contains an actual plot with actual characters who have believable motivations — which is a huge departure from the family’s later work — but it still fails to maintain much interest. Gay jokes and broad impressions of mental disorders abound while the two brothers commit credit card fraud and grand larceny. In other words, it’s not the Wayans’ worst movie.


6. Blankman (13%)

To the Wayans’ credit, they were trying their hand at the “average person fights crime as a superhero” movie years before the genre was played out with Kick-Ass, Super, Mystery Men, et al. (Not that this 1994 film is very good, but at least they were exploring relatively new territory.) Blankman stars and was written by Damon, who plays a nerdy, effeminate repairman who takes on the crime world with homemade gadgetry and undiagnosed autism. There are a few decent laughs in the movie, and the concept isn’t wholly terrible, but the 13% rating on Rotten Tomatoes is definitely earned.


7. Scary Movie 2 (15%)

The second and final entry in the Scary Movie franchise to involve a Wayans, the sequel to the hit horror spoof features a surprisingly high amount of comedy talent (Chris Elliott, David Cross and Andy Richter also appear) and contains parody set pieces that were still effective in the early years of the Wayans spoof factory. Keenen Ivory directs while Shawn and Marlon write and star, and the whole affair manages to coast on the appeal of its predecessor. While we didn’t realize it then, Scary Movie 2 represents a more refined Wayans work.


8. White Chicks (15%)

Look, we’re not made of stone. The sight of Shawn and Marlon as white women elicits a snicker or two, and the stars mumbling through a Vanessa Carlton singalong is a solid gag. But the movie itself never rises above the level of “men in drag” cliches like falsie fumbling and keeping clueless male suitors at bay. Once again serving as director and co-writer, Keenen Ivory reins in his younger brothers’ performances and penchant for gross-out gags, maintaining a storyline that can serve as a tangible plot. It ain’t Tootsie, but it ain’t Norbit either.


9. Dance Flick (18%)

Written by a quintet of Wayans (including nephews Craig and Damien Dante), this 2009 dance spoof has an embarrassment of riches when it comes to source material. Critically panned — but not to the degree of other Wayans parodies — the movie features New Girl’s Damon Wayans, Jr. as the trainer to hopeless prancer Shoshana Bush and has more than a few laughs. (Call us morbid, but a real-life baby peeking through the slots of a closed school locker makes us chuckle.)


10. Don’t Be a Menace to South Central While Drinking Your Juice in the Hood (29%)

Winning over both audiences and more than a few critics, Don’t Be a Menace kicked off the slew of wordy spoofs we’ve all come to regret. But in 1996, Shawn and Marlon’s rapid-fire references hadn’t yet overstayed their welcome and kept viewers entertained. Skewering John Singleton, the Hughes Brothers and the urban dramas of the time, the movie succeeds in eking out comedy from the stark subject matter it chooses to parody. How well the movie has aged is debatable, but to the Wayans’ credit: They know a reliably profitable formula when they see one.

Catch the “Too Rotten to Miss” Wayans spoof Scary Movie 2 this Friday at 8P on IFC.

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