Roomies Press

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"Funny People" (my 0-10 rating: 7)

Director: Judd Apatow

Screenplay: Judd Apatow

Cast: Adam Sandler, Seth Rogen, Leslie Mann, Eric Bana, Jason Schwartzman, Jonah Hill

Time: 2 hrs., 26 min.

Rating: R (vulgarity, continuous crude sexual humor, some graphic sexuality)

A very good movie, ruefully admitted.

Best appreciated as a view of a little known but entirely unattractive sub-culture called the L.A. stand-up comedy scene, "Funny People" covers its ground vigorously. I found it an unwanted education which at first came across so obnoxiously that I almost walked out on it, but one which rapidly grows on you with a bold sense of how much growing it has to do.

Specifically, it has you understand from the opening that this level of our complex society has incorporated into its body the verbal language of what is generally called vulgarity. It is not used for color or emphasis or accentuation, as most of us would have it, but rather as a normal part of the flow and expression of ordinary conversation.

So you just have to get over all that. This is their language. You can't criticize it except to observe that in this case how sad it is that this is the best that modern intelligent people can do with the English language.

The film rambles for awhile, with Adam Sandler, a superb actor curiously dedicated to toilet humor, doing an excellent role as a man advised by his doctor that his days may be numbered. Yet there is the sense that writer-director Judd Apatow, an intense student of the natural comedy in romance frustration, does not know how to balance serious moments with crass comedy. Too often, he opts for the latter, as though he were afraid to get serious about seriousness.

The story is a general view of the stand-up comic scene in L.A. George (Adam Sandler), a filmmaker who's gotten rich on his schlock movies, lives by himself in a palatial seaside home with indoor and outdoor pools. His social life is all about photo-ops with his adoring fans.

It is at this point that he is advised that he has a rare blood disorder. There is no treatment for it. With death in the offing he looks back on his life to get a clue as to what he should be doing for fulfillment. He has, he ruefully regrets, let many an enriching relationship slip away. He hates himself.

Well, now comes Ira Wright (Seth Rogen) into his life. Ira is a struggling stand-up comic whose daytime job is at a mall deli and who sleeps on a pull-out couch in the apartment of his very successful roomies, comic Leo (Jonah Hill) and sitcom star Mark (Jason Schwartzman). The encounter with George comes when he, George, is doing a self-criticizing monologue that is getting zero laughs. Ira's act follows. In it, he trashes George's attitude about himself. George, impressed, hires Ira to do fulltime gag-writing for him.

The key thread to the plot is George's most tragic love loss in his recent past, that with Laura (Leslie Mann), for which he constantly bemoans over his own responsibility. She resurfaces, now married, with children, to a macho Australian (Eric Bana), her revisit into George's life raising ultimate confusion for her over where her romance is grounded.

The film had taken a commendable risk in going for an almost two-and-a-half hour length. The theme, as it's treated here, has been pretty well established over the decades as a less-than-two-hours item. But it has confidence in itself that the personalities will carry it, and they do. Leslie Mann, especially, is absolutely fascinating in her performance. And Seth Rogen tries very hard at his timing in intricately involving moments. Jonah Hill is also a gem as the pudgy, unrealized gag-writing talent who expresses himself with a natural comic thrust.

Forget, if you can, the "foul" language. It's just there, an in-house tongue that's s standard of verbal communication.

The number and variety of issues dealt with are impressive and eventually of quality.

http://www.martymoviereviews.com
Marty Meltz, 30-year former films critic for the Portland (Maine) Sunday Telegram. Offering right-to-the-point reviews that address directly the question of the film's entertainment value to you. Films have personalities. It doesn't matter who wrote it, who directs it, who stars in it, if it doesn't reach out to you with charisma. I examine its honesty and intelligence. Are you being respected, or are you being jerked around?

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Can i sue someone who broke my nose in a fight that i started ?

i was asleep in my room and my roomie arrived drunk from a night club and started talking trash at me for about 20 minutes so i got upset and punched him hardly on the mouth, and he answerd to the agression and punched me on the nose, there was 1 witness which was one of my other roomies, i had to go to the hospital for 1 and a half weeks and got my nose opperated on, can i press any charges on him or can I charge the opperation cost on him ??

You have a cause action against him, but the are obstacles that might make it difficult to prevail.

The best causes of action are for assualt and battery. Assault is the defined as the intent to cause the apprehension of harmfully or offense touching in another, and an affirmative act which does so.

Battery is defined as the intent to cause the harmful or offensive touching of another, and an affirmative act with does so.

Here, you intended to hit him, which would both cause apprehesion of contact and harmfull and offensive contact. So you likely committed both battery and assualt.

He, however, has several defenses. First, he will assert that he had a right to defend himself from your attack. The right of self defense, however, must be use in a reasonable manner, so the force he used had to be reasonable. This comes down to the facts, and you would need to so the used force was not reasonable. The fact that he hit you hard enough cauuse you to need an operation, goes to it not being reasonable, the fact that you punched him in the fact first, would go toward that it was reasonable to respond in kind.

He could also assert that you consented to the conduct, in that you started a fist fight, by hitting him, and in doing so, you must have known that he would have hit you back. Hitting someone in the mouth the way you did in the situtation you describe, might well be viewed as an invitation to start to fight.

You can also assert that your initial conduct was acceptable, because of him "trashing" you. I'm not sure what that entaile, but the theory would be that you were using reasonable force to prevent him from hurting or annoying you, and therefore, he was not entitled to hit you back. You may get somewhere with this, depending what he was doing. If he was only talking loudly to you and no making any threating gestures, then you'll almost certainly lose, since words alone are almost never cause enough to give rise to a fight.

There's some change to win, but it doesn't look good for you. I'd dicuss the matter with him, and try to workout some form of sharing of the costs.

Corey Haim dead at 38: reports
Corey Haim, shown in this 1987 file publicity photo, starred in the NBC comedy Roomies. (The Associated Press/NBC) Corey Feldman, left, and Corey Haim co-starred in the comedy License to Drive in 1988.

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