Mark Wahlberg and Seth MacFarlane-ish in Ted 2TED 2

Every fan of Family Guy knows that when he wants to, Seth MacFarlane can be really offensive. (I am in no way a fan of Family Guy, and even I know that.) But the biggest problem with MacFarlane's Ted 2 - which is likely to at least occasionally infuriate anyone who isn't a white, straight alpha-bro - isn't that it's offensive; it's that it's too often sincere. This is a movie in which Morgan Freeman, as a benevolent civil-rights attorney, invokes the 16th Amendment and the Emancipation Proclamation when arguing for the rights of a talking teddy bear, with the scene's moved onlookers and swelling score matching him in earnestness and integrity. My audience, meanwhile, watched and listened to Freeman's impassioned oration in what felt like stunned silence. Can MacFarlane possibly be serious about this - that his foul-mouthed teddy's rights are equal to those of hundreds of thousands of disenfranchised human beings? And if he's not serious, why isn't this scene in any way funny?

The Stooges Brass BandMusic

"A Taste of New Orleans" featuring the Stooges Brass Band

RME Courtyard

Wednesday, July 8

 

On July 8, Davenport's River Music Experience presents a mid-week happening titled "A Taste of New Orleans," featuring an informative workshop on the city's rich musical history and the Woodfire Grill selling delicious Cajun appetizers and entrées. But the event's spiciest treat will likely be its RME Courtyard performance by the jazz, hip-hop, funk, and R&B artists of the Stooges Brass Band, and I gotta say, ga lee! I'm getting major freesons knowing they'll be bag daer! Weh!

Yeah, I'm pretty fluent in the Cajun dialect. You'd never guess I was actually of German and Danish descent, would you? [Editor's note: We guessed, Mike.]

Cody King, Antoinette Holman, Chris Galvan, Janos Horvath, Brad Hauskins, Deanna Collins, and Ben Klocke in How I Became a PirateHow long does it take for an area production to become legendary? In the case of the Circa '21 Dinner Playhouse's How I Became a Pirate, I'd say about one week, because after the show's debut staging in 2013, that's how long it took four adult patrons, individually, to tell me it was maybe the best family musical they'd ever seen.

Inside OutINSIDE OUT

There appear to be two ideal ways to discuss, in review form, Pixar's hugely entertaining animated comedy Inside Out. One is through something short and sweet that suggests the experience of director Pete Docter's hilarious, incredibly sophisticated charmer without giving away all of its best jokes and most trenchant observations. The other is through a dissertation of some 20,000 words that digs deeply into the rather staggering psychological nuance of this thing, with lengthy footnotes exploring, say, The Role of Abstract Thought in the Prepubescent Female Psyche, or The Singular Comedic Melancholia of Phyllis from The Office. I'm opting for short(-ish) and sweet. And you're welcome.

Paul Dano in Love & MercyLOVE & MERCY

Receiving a wide national release on the same weekend as Inside Out's debut, director Bill Pohlad's Love & Mercy is also an exploration of the brain - specifically, the brain of Beach Boys wunderkind Brian Wilson, alternately portrayed by Paul Dano (during the film's Pet Sounds-era 1960s sequences) and John Cusack (during Wilson's heavily-, and incorrectly-, medicated period in the late 1980s). And rather astonishingly for a work of its type, it boasts numerous scenes in which it really, truly feels like we're allowed to roam around in a legendary musician's head, feeling what he feels and, even more importantly, hearing what he hears.

Nate Karstens, Abbey Donohoe, and Ian Sodawasser in Young FrankensteinOn at least three occasions during Thursday's preview performance, Quad City Music Guild's Young Frankenstein achieved a transcendent silliness - the kind you get with stunning regularity in Mel Brooks' film-spoof inspiration. If you include everything said and done by Nate Karstens' hunchback Igor, it was more like 203 occasions, but in the spirit of this tasty musical confection, let's save the sweetest for dessert.

Chris Pratt and Bryce Dallas Howard in Jurassic WorldJURASSIC WORLD

Hopefully it won't happen for many, many years. But when Steven Spielberg eventually passes away, will any of us be allowed to notice?

MusicMarchfourth!

MarchFourth!

The Redstone Room

Thursday, June 18, 7:30 p.m.

 

According to Iowa City's Little Village magazine, "Some mad scientist somewhere took a bunch of marching-band geeks who died in a bus crash outside his castle, reassembled their bodies, laid them out on a platform, zapped it with a lightning bolt, and brought them back to life as a monster, all the while cackling as he admired his creation."

That's author Yale Cohn's description of the high-energy, genre-defying musical powerhouses of MarchFourth!, who'll be bringing their traveling party to Davenport's Redstone Room on June 18. But your confusion is understandable if you thought that opening paragraph was actually meant for the What's Happenin' below.

Melissa McCarthy, Jason Statham, and Jamie Denbo in SpySPY

Writer/director Paul Feig's Spy opens with an incredibly funny gross joke involving a sneeze, closes with an incredibly funny reveal involving a one-night stand, and somehow manages to stay incredibly funny - in addition to smart and clever and sweet - for most of the two hours in between. It's an action spoof about a gifted yet timidly self-conscious CIA desk jockey (Melissa McCarthy) who finally gets to release her inner Jane Bond, but the numerous vehicular chases and shoot-outs and danglings from helicopters are practically beside the point. Here, the comedy is the action.

Bradley Cooper and Emma Stone in AlohaALOHA

On three separate occasions this past weekend, after mentioning that I'd seen Cameron Crowe's Aloha, I had friends or family members reply with some variant on "Ugh, how bad was it?" That's usually the response I get after telling people I just came back from the latest Happy Madison flick or Paranormal Activity: Yup, We're Still Churning These Out. But to hear that kind of pitying condolence regarding a new Crowe endeavor was troubling. Sure, the reviews were largely dreadful, and the previews leaned toward the achingly twee, and the movie's reputation in the hacked Sony e-mails ("the script is ridiculous") didn't help matters. Beyond all that, though, is the collective disappointment of Vanilla Sky, Elizabethtown, and We Bought a Zoo so pervasive and infuriating that it overwhelms the memory of Say Anything ... , Jerry Maguire, and Almost Famous?

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