&#039Popstar&#039 Makes The Most Of Its Big, Chest-Thumping Joke

Akiva Schaffer, Andy Samberg and Jorma Taccone of The Lonely Island team up in Popstar: Never Stop Never Stopping.

Akiva Schaffer, Andy Samberg and Jorma Taccone of The Lonely Island group up in Popstar: Never Stop Never Stopping. Glen Wilson/Universal Photos hide caption

toggle caption Glen Wilson/Universal Images

The Lonely Island comedy trio — Akiva Schaffer, Jorma Taccone, and Andy Samberg — have been writing and performing with each other given that 2000, but they did not attain national prominence until 2005, when their Saturday Evening Live digital brief “Lazy Sunday” went viral. “Lazy Sunday” crystallized the troupe’s winning musical formula: Ferocious, chest-thumping rap braggadocio in service of silly and self-deprecating lyrics, like eating cupcakes and seeing a matinee of The Chronicles of Narnia. On SNL, 3 albums, and a run of consistently hilarious music videos, The Lonely Island has turn out to be the hip-hop equivalent to Jack Black and Kyle Gass’ long-running heavy metal parody/homage, Tenacious D. And the lingering query for both is: How far can a single joke be stretched?

For Tenacious D, the answer was the humbling 2006 farce Tenacious D in The Pick of Destiny, which sputtered right after a brilliant standalone opening. The Lonely Island fares significantly greater with Popstar: Never Stop Never ever Stopping, perhaps since the concept isn’t restricted to rap parody, but acts as a net that trawls the entire pop universe, in all its pomposity and excess and chronic eccentricity. Taking a mock-documentary type that draws from This is Spinal Tap, VH-1’s Behind the Music, and promotional movies like Justin Bieber: In no way Say Never ever and Katy Perry: Part of Me, Popstar isn’t a satire so a lot as a warped funhouse reflection of the modern scene. It is vibrant, affectionate, and so keyed into our specific pop moment that it all but hurls itself into a time capsule.

It really is also complete of jokes, lots of them, pouring out from the dialogue, the soundtrack, and an onslaught of graphics, references, foreground/background jokes, and random jokes tucked into the crevasses. Schaffer, Taccone, and Samberg had tried to make a function-length comedy before in the underrated Hot Rod, which tanked, but this is their very first accurate Lonely Island film and they’re not leaving any possible laughs off the table. The manic pacing provides Popstar the jagged rhythm of a hit-or-miss spoof in the Airplane! tradition, but there is enough hits to sustain every single scene and a easy arc about friendship and collaboration to carry the finale across.

As Popstar opens, Conner4Real (Samberg) is an ascendent phenom, getting used the early achievement of The Style Boyz, the band he started with childhood buddies Owen (Taccone) and Lawrence (Schaffer), to catapult, Justin Timberlake-like, to solo glory. Now surrounded entirely by sycophants, including 23 private assistants, Conner is readying the launch of his new album, Connquest, for which he wrote all the songs and slickened with the solutions of one hundred producers. With singles like “Equal Rights,” a marriage equality anthem laced with gay panic, and “Finest Girl (Bin Laden Song),” a sex track littered with references to the Osama Bin Laden killing, Connquest is a vital flop and a commercial disaster. (Pitchfork provides it -four. out of ten whilst Rolling Stone opts for the poop emoji on its 4-star scale.)

Nonetheless, Conner tours in support of the record, breaking out new gimmicks to stave off his dwindling fortune. In that, Popstar acts as a scaled-up This is Spinal Tap, following a washed-up outfit via half-filled arenas as its most recent LP drifts into obscurity. The film has a sentimental side, as well, as Conner seeks to mend fences with Owen and Lawrence, who are decreased to DJ-ing with a iPod and functioning on a dust-choked farm, respectively. Samberg’s breakout good results as a Tv and film star probably informs this subplot, with The Style Boyz as a stand-in for The Lonely Island, but a comedy this untroubled does not hint at any true discord.

Conner’s image as a runaway egotist and conspicuous spender feeds into blockbuster scope of Popstar, which does not let for the more modest observational comedy of Spinal Tap or a Christopher Guest comedy like A Mighty Wind. The film is jammed with a who’s-who of celebrity cameos and bit parts, like Timberlake as a personal chef with a yen for carrot preparation, and massive setpieces, like Seal presiding more than a wedding proposal disrupted by a pack of wild wolves. Some of the jokes undercut pop grotesquerie, other people are merely silly for the sake of it. And as with any great Lonely Island song, all of them are delivered with infectious brio.

Arts &amp Life : NPR

&#039The Household Fang&#039 Makes Art With each other, Falls Apart Together

Nicole Kidman and Jason Bateman in The Family Fang.

Nicole Kidman and Jason Bateman in The Family Fang. Courtesy of Starz Digital hide caption

toggle caption Courtesy of Starz Digital

The premise and poster of The Family Fang promise a dynasty of twee eccentrics with maladjusted children, like the Tenenbaums, or the Bluths of Arrested Development. But though the Fangs share the latter’s Jason Bateman, here directing as well as once more playing the put-upon son, this is a different failed family, and they strike a different tone onscreen: one more principled and intimate than mannered or mocking. They’re a clan of performance artists whose public spectacles puncture the very idea of how families are supposed to behave, now reckoning with the long-term consequences of such a life-consuming craft.

In the 1970s, the parents, Caleb and Camille, made their two children often-unwitting players in their prankish pieces: instructing their son to fake a bank robbery, manipulating a school production of Romeo and Juliet so the siblings would be forced to kiss onstage. Critics are divided on the artistic merits of such stunts, but everyone seems to agree that Caleb and Camille’s work lost its pizzazz once “Child A” and “Child B” grew up and flew the coop.

Christopher Walken makes a brilliantly nasty patriarch, a bully who mocks and degrades all other forms of art as fake — including the acting and writing his grown-up children have done. He spouts Caleb Fang’s ideas with such conviction, such pomposity, that it’s easy to picture this man drum-majoring his family all these years, and also easy to picture them desperate to drift away from him.

This is what Annie (Nicole Kidman) and Baxter (Bateman) have done, the former becoming an alcoholic Hollywood star, the latter a struggling novelist and magazine writer who winds up back home after an on-assignment injury. But Fang mother Camille (played by Maryann Plunkett with more of a sly folk-artist’s charm) has remained loyal, even though she secretly paints little country scenes on the side, stashing them away lest Caleb catch her aesthetic betrayal to his cause.

A Fang reunion in their sprawling upstate New York home is quickly followed by the sudden disappearance of the parents, and the discovery of evidence pointing to a serial killer’s handiwork. Annie is too smart to fall for that trick, and starts piecing together any shred of evidence that they faked the whole thing. We’re too smart to fall for it too, and yet the mystery of the Fang parents becomes oddly engrossing, or at least more so than the soul-searching it prompts in the children. Kidman’s character succumbs to an implausible belief that she can somehow change her parents’ essential natures until they’re all a normal family, instead of a gallery piece. The mania she attaches to this motivation (complete with bulletin boards tracking the case) is too simple of an approach to the story. But Kidman does sell her chemistry with Bateman, a fraternal spark that comes with a taboo edge thanks to that Romeo and Juliet incident.

This is Bateman’s second directorial feature, after the R-rated spelling-bee comedy Bad Words — a film that seemed to share Papa Fang’s desire for shock and awe. For the first time, he proves himself capable of overseeing authentic human drama, and has moments here of a true filmmaker’s eye, particularly in the flashback sequences depicting the “pieces,” which are shot with lush colors and prompt a great sense of danger and uncertainty. “How far will they go with this?” we wonder, and cringe every time we get our answer. A crackling scene in the present day has the Fang parents trying to rebel against corporate fast food by handing out bogus coupons, only to be foiled by the human error of a stranger’s kindness. This sequence’s perfect escalation is how we learn that underneath all the Fangs’ professed desire to incorporate the public into their art is a deep contempt for that same public: a contempt, even, for life unscripted.

Based on the 2011 novel by Kevin Wilson, The Family Fang sings with great ideas about the ways all families lie to their children, and what it means to live with people you can never take seriously (being constantly addressed with the performative monikers “Child A” and “Child B” has to take its toll eventually). But the film suffers from a similar fate to many movies about artists: in order to make sure the audience gets what these people are about, everyone talks too much about the themes at the heart of their work instead of letting the work speak for itself. The overly chatty script by David Lindsay-Abaire (a Pulitzer Prize winner for his play Rabbit Hole) has difficulty carrying its most promising themes to a satisfying payoff, and a third-act reveal is riddled with plot holes. Carter Burwell’s gripping, ominous score suggests an untapped mystery and darkness to the material.

But though the Fangs themselves may not think much of their audience, their movie is still warmly inviting, because their peculiar frustrations become concrete and universal. That may not be a victory for Caleb’s brand of art, but it is a minor one for filmmaking.

Arts & Life : NPR