Latest news with #MelBrooks
Yahoo
5 days ago
- Entertainment
- Yahoo
Sam Rockwell tried to induce 'nervous breakdown' for scenes in 'Galaxy Quest': 'People were like, what are you doing?'
The actor referenced Gene Wilder's performance in "The Producers" as a "perfect example" of what he was trying to do. When Sam Rockwell gets a role, he's all in, dancing or whatever needs to be done. But when asked about the "most ridiculous role" he's ever committed to, there's a clear winner: Guy Fleegman, whom he played in Galaxy Quest, the 1999 movie about the cast of a former sci-fi TV series having to assume their roles in real life in order to save the universe. "Well, I think Galaxy Quest comes to mind, as far as taking it very seriously," Rockwell said of the sci-fi parody on Thursday's episode of Hot Ones. "I was walking around, [having] a lot of coffee, getting really hyped up and trying to have a nervous breakdown on camera, so that people would laugh at it, which is totally ridiculous. People were like, 'What are you doing, man? It's a comedy.' But, you know, you have to really break down or it's not funny." He pointed to Gene Wilder's performance as Leo Bloom in Mel Brooks' iconic 1967 movie The Producers as proof. Wilder, who died in 2016, is "a perfect example of that," Rockwell said. "He has a real anxiety attack, and it's hilarious." Wilder was nominated for an Oscar in the category of Best Supporting Actor for his work in the iconic film, although it's unclear how much of it was acting and how much was at least inspired by real life. The veteran of movies such as Willy Wonka & the Chocolate Factory and Young Frankenstein told Time in 1970 that he'd always had "a reservoir of hysteria," although he'd grown out of it. As for Rockwell, he's previously described his transformation for the spoof that he costarred in with Tim Allen, Sigourney Weaver, and the late Alan Rickman in a similar way. "You have to play that for real!" he told HuffPost in July 2013. "I'm really crying in the spaceship when I'm freaking out."He also said then that he'd done "full emotional preparation." "I had had four cups of coffee, and I was doing it as if it was a drama for me," Rockwell explained. "Knowing that the outcome is going to be a funny outcome, that people will be laughing at my tragedy. I was pacing, and I think Bill Paxton did the same thing in Aliens — knowing he's the funny guy, but he's got to be freaked out. He has to be legitimately scared — and that's what makes it funny. That's what great farce is: raising the stakes." Watch Rockwell's full Hot Ones conversation above. Read the original article on Entertainment Weekly
The Guardian
6 days ago
- Entertainment
- The Guardian
Turn the parody up to 11: the best spoof movies – ranked!
Trey Parker's extraordinary puppet comedy may find its spoof status in dispute – perhaps because it spoofs more than one thing at a time: it spoofs action adventures and superhero combos as well as satirising gung-ho American nationalism and exceptionalism. Team America epitomises the belief that the US can and should get involved all over the world by kicking the ass of foreign people. Does it deserve a place on a spoof list? Fuck yeah! Perhaps it is strange that a full-dress spoof of Alfred Hitchcock took so long to arrive – it could be that the master's own playful and self-aware sense of humour preempted it. But here is Mel Brooks's send-up of Hitchcock's psychological suspense thrillers, with Brooks as Dr Richard Thorndyke, the psychoanalyst neurotically afflicted with a fear of heights who somehow always finds himself in dangerous situations in which he is going to fall to his death. A sturdily impassive supporting cast includes Cloris Leachman, Madeline Kahn and a cameo for Brooks's co-writer Barry Levinson. There have been so many spy spoofs and Bond send-up movies: Johnny English, Austin Powers and the first (non-canonical) Casino Royale from 1967 with David Niven as Bond. So, given that only one will have to stand for them all, here is Michel Hazanavicius's very closely observed and very funny spy spoof, riffing on the Bondian French agent Hubert Bonisseur de la Bath, created by French author Jean Bruce in the late 1940s – starring the excellent Jean Dujardin as the suavely handsome daredevil with a touch of Clouseau-esque incompetence. In what may come to be seen as the golden age of 80s' spoofs, Keenen Ivory Wayans produced his blaxploitation spoof, with the pedantically overextended title signalling its status as self-referential comedy. Wayans casts plenty of genuine titans of the blaxploitation world, including Antonio Fargas, Jim Brown, Isaac Hayes and Bernie Casey – riffing knowingly on the fact that black sports stars often graduated to the movies, although OJ Simpson was to appear in quite another spoof: the Naked Gun series. Kanti Shah's spoof version of the revered Bollywood action-adventure Sholay from 1975 – widely regarded as one of the greatest Indian films of all time – was cheeky and, to some, even a bit sacrilegious. The film uses lookalike casting, mirroring iconic stars such as Sanjay Dutt, and madly inflates the already grandiose plot, which involved a retired cop hiring two criminals to bring down a ruthless kingpin. This parody version rounds up a whole crew of reprobates. In any discussion of spoofs, there will always be debate about whether a certain film really counts as a spoof. When Python's Life of Brian first came out and was threatened with censorship by the religious right, the spoof argument was deployed in its defence – ie it's not an offensive attack on Christianity, it's a spoof of religious Hollywood epics. That's sort of true: the movie, starring Graham Chapman as the dozy bloke Brian Cohen who is mistaken for the Messiah in the time of Christ, used the locations and sets of Franco Zeffirelli's TV extravaganza Jesus of Nazareth, and its generic resemblance was part of what made it funny. The Scary Movie franchise and the comparably self-aware if not out-and-out spoofy Scream series were a big part of the mainstream horror revival at the beginning of the 00s. Wayans, with his habitual pile-'em-high attitude to gags, gives us references to Friday the 13th, Halloween, I Know What You Did Last Summer and many more. He cheekily plays up the genre's trope of attractive young teen victims somehow always put themselves in harm's way, epitomised by the demon in the Ghostface mask standing between two road signs pointing helpfully in different directions, SAFETY and DEATH, boiling down the slasher plot form to a single absurdist meme. A connoisseur spoof of 1940s noir detective stories, starring Steve Martin as the tough private investigator, directed and co-written by Carl Reiner, shot in black-and-white by Michael Chapman (who also shot Raging Bull) and accessorised with a gorgeously authentic musical score by Miklós Rózsa and costumes by Edith Head. Martin's character effectively speaks to the ghosts of the past as clips of old movies are intercut into the action, featuring the likes of Bogart, Cagney and Veronica Lake. Is that cheating in spoof terms? Maybe. But this is very well observed. The porn spoof is a genre that is mostly under the radar and under the counter – the porn industry itself regularly produces porn-spoof versions of mainstream films (Shaving Ryan's Privates, Everyone I Did Last Summer, For Your Thighs Only, etc), but that is a matter of porn spoofing the respectable films. For the other way around, there is possibly the (woefully unfunny) Carry On Emmannuelle, but more amusing and gleefully crass is the brief sketch in John Landis's The Kentucky Fried Movie – a spoof of porn and a spoof of trailers. It's a coming attraction taster for the shocking new adult film Catholic High School Girls In Trouble: 'Never before has the beauty of the sexual act been so crassly exploited!' Here is the original sequel-spawning Naked Gun, imminently to be revived with Liam Neeson playing the tough, stern detective: a movie spun off from the original Police Squad! TV comedy, which spoofed 60s TV cop shows such as The FBI. In fact, the original spoof targets of Naked Gun are so dim and distant in the pop culture collective memory that Naked Gun has its own kind of originality. Leslie Nielsen (carrying on from his brow-furrowing turn in the classic Airplane!) once again sent up the boilerplate heroic persona that he used to portray quite seriously, playing Det Lt Frank Drebin, and that rich baritone voice was vital to the absurd comedy. Alan Parker's Bugsy Malone was a movie-musical that spoofed the Prohibition-era Warner Bros gangster-crime genre by simply casting the film's tough guys as children who hit each other with custard pies instead of shooting guns. However, Jodie Foster, appearing here in the same year as Taxi Driver, was so precocious that she was considered an honorary adult in an entirely different league from the innocent kids in the rest of the film. (The idea was not entirely original: the 1905 silent The Little Train Robbery spoofed The Great Train Robbery of 1903 by using children and a miniature railway set.) Amy Heckerling's 90s masterpiece achieved a kind of double spoof: the story of high-school princess Cher, played by Alicia Silverstone, spoofed the form and content of teen movies by virtue of being elegantly modelled on a classic of English literature – Jane Austen's Emma. (Gil Junger's 10 Things I Hate About You did the same thing with Shakespeare's The Taming of the Shrew.) But, by the same token, it also slyly spoofed the generic mannerisms of Austen, and did so with loving admiration. Scott Sanders's blaxploitation spoof boasts a stream of outrageous gags, uproarious bad taste and strict attention to detail. It stars his formidable co-writer, the martial arts action lead Michael Jai White as Black Dynamite, who swears to avenge his dead brother and takes aim at the complicit white establishment in Washington DC and the 'Honky House'. Sanders lovingly reproduces the paradoxically old-fashioned imperatives of blaxploitation, masculinity and heroism, which were being affirmed at a time when the white American new wave was undermining them. This is a screwball self-aware comedy, a crazy madcap romp that its ever-increasing number of fans believe is touched by genius. Originally a Broadway show, it's a spoof of Broadway romances such as Gold Diggers of Broadway and The Great Ziegfeld. Butit's also a spoof of cinema and of musical theatre as represented in cinema, and of showbiz generally: the forms, the conventions and the grammar of all these are lovingly foregrounded. Actors Ole Olsen and Chic Johnson (from the original show) play themselves in the midst of a chaotic swirl of misadventures concerning whether or not a certain stage show can work in the world of motion pictures. David Wain is a film-maker who spoofed sex comedies in his Wet Hot American Summer of 2001. But this is surely his masterpiece: a devastatingly realistic, rigorously maintained spoof of a mainstream romantic comedy, played with absolute conviction by Paul Rudd and Amy Poehler, with the New York locations, cinematography, production design and supporting cast that would be in the real thing. Rudd and Poehler are the couple who come together in the big city (which is itself a character in the movie, as in any self-respecting romcom), and the film takes us through a complete story, while always making us aware that it isn't a 'real' romcom – the effect is fascinating, amusing … and even slightly scary. Mel Brooks's outrageous spoof western was, in one respect, very unlike the classic westerns it was sending up: it had a black man in the leading role. Cleavon Little is the railway worker Bart, who is promoted to sheriff by corrupt and cynical forces who expect him to fail (and so Blazing Saddles is not unlike Brooks's The Producers). But Bart finds himself teaming up with boozy gunfighter The Waco Kid, played by Gene Wilder, a tough guy who is, of course, on the point of redemption in the classic manner. There are some sophisticated fourth-wall-breaking gags and very unsophisticated farting jokes. Do spoof films have to generate comedy? And if their object is more serious, does that mean they need the posher title of homage? Todd Haynes's romantic drama Far From Heaven is a spoof of Douglas Sirk pictures such as All That Heaven Allows and Imitation of Life: films about the passionate inner lives of women in 40s and 50s America. But Far From Heaven is much more explicit on the subject of race, racism and gay sexuality than Sirk could allow himself to be – Julianne Moore is superb as the prim and proper housewife whose husband (Dennis Quaid) has a secret gay existence, and she falls in love with a black man, played with Poitier-esque dignity by Dennis Haysbert. For some, this is Brooks's greatest spoof, and possibly anyone's greatest spoof: a lovingly detailed recreation in luminous black and white of James Whale's original Boris Karloff-starring Frankenstein from 1931 , pastiching the Gothic romance tradition of classic horror from the forested dark lands of central Europe and using some of the original film's props. Cobbling together a recognisable human from disparate body parts – is that an allegory for spoof itself? Gene Wilder is the troubled neurophysiologist Dr Frederick Frankenstein, who realises that it is his terrible destiny to recreate the experiments of his disgraced grandfather Victor Frankenstein, creating a monster played by Peter Boyle. Rob Reiner's brilliant comedy spoofed the vainglorious and Brit-heavy rockumentary genre like Zep's The Song Remains the Same, but with superb incidental detail and observational flair that went beyond those films. Christopher Guest, Michael McKean and Harry Shearer are Nigel Tufnel, David St Hubbins and Derek Smalls of the legendary but failing heavy rock colossus Spın̈al Tap, here shown on an ill-fated comeback tour. Tap more or less spearheaded mockumentary comedy, cringe comedy and embarrassment comedy – later revived by Ricky Gervais and Steve Carell. It had to be. This is the highest plane (as it were) of pure spoof nirvana, marrying original gags to strictly observed satire and an unflinchingly deadpan delivery, symbolised by its most famous joke: 'Surely you can't be serious?' (You know the punchline, which brilliantly and economically enacts the repudiation of seriousness). The Abrahams-Zucker masterpiece is a brilliant, vibrant parody of the airline disaster genre, spoofing the Airport movies generally and anticipating Robert Zemeckis's later plane crash films like Cast Away and Flight. But it was in fact modelled with amazing closeness on one specific film: Zero Hour! from 1957 (by Arthur Hailey, who went on to write the Airport films), a melodrama that now cannot be watched except through a glaze of delirious disbelief. It was a masterstroke of Abrahams and the Zuckers to get veteran actor Leslie Nielsen to play the heroic lead in exactly the same straight-faced, resonant way as he would have if he was in the original – and the same goes for troopers such as Robert Stack, Lloyd Bridges and Peter 'Mission: Impossible' Graves. Genius.
The Guardian
6 days ago
- Entertainment
- The Guardian
Turn the parody up to 11: the best spoof movies – ranked!
Trey Parker's extraordinary puppet comedy may find its spoof status in dispute – perhaps because it spoofs more than one thing at a time: it spoofs action adventures and superhero combos as well as satirising gung-ho American nationalism and exceptionalism. Team America epitomises the belief that the US can and should get involved all over the world by kicking the ass of foreign people. Does it deserve a place on a spoof list? Fuck yeah! Perhaps it is strange that a full-dress spoof of Alfred Hitchcock took so long to arrive – it could be that the master's own playful and self-aware sense of humour preempted it. But here is Mel Brooks's send-up of Hitchcock's psychological suspense thrillers, with Brooks as Dr Richard Thorndyke, the psychoanalyst neurotically afflicted with a fear of heights who somehow always finds himself in dangerous situations in which he is going to fall to his death. A sturdily impassive supporting cast includes Cloris Leachman, Madeline Kahn and a cameo for Brooks's co-writer Barry Levinson. There have been so many spy spoofs and Bond send-up movies: Johnny English, Austin Powers and the first (non-canonical) Casino Royale from 1967 with David Niven as Bond. So, given that only one will have to stand for them all, here is Michel Hazanavicius's very closely observed and very funny spy spoof, riffing on the Bondian French agent Hubert Bonisseur de la Bath, created by French author Jean Bruce in the late 1940s – starring the excellent Jean Dujardin as the suavely handsome daredevil with a touch of Clouseau-esque incompetence. In what may come to be seen as the golden age of 80s' spoofs, Keenen Ivory Wayans produced his blaxploitation spoof, with the pedantically overextended title signalling its status as self-referential comedy. Wayans casts plenty of genuine titans of the blaxploitation world, including Antonio Fargas, Jim Brown, Isaac Hayes and Bernie Casey – riffing knowingly on the fact that black sports stars often graduated to the movies, although OJ Simpson was to appear in quite another spoof: the Naked Gun series. Kanti Shah's spoof version of the revered Bollywood action-adventure Sholay from 1975 – widely regarded as one of the greatest Indian films of all time – was cheeky and, to some, even a bit sacrilegious. The film uses lookalike casting, mirroring iconic stars such as Sanjay Dutt, and madly inflates the already grandiose plot, which involved a retired cop hiring two criminals to bring down a ruthless kingpin. This parody version rounds up a whole crew of reprobates. In any discussion of spoofs, there will always be debate about whether a certain film really counts as a spoof. When Python's Life of Brian first came out and was threatened with censorship by the religious right, the spoof argument was deployed in its defence – ie it's not an offensive attack on Christianity, it's a spoof of religious Hollywood epics. That's sort of true: the movie, starring Graham Chapman as the dozy bloke Brian Cohen who is mistaken for the Messiah in the time of Christ, used the locations and sets of Franco Zeffirelli's TV extravaganza Jesus of Nazareth, and its generic resemblance was part of what made it funny. The Scary Movie franchise and the comparably self-aware if not out-and-out spoofy Scream series were a big part of the mainstream horror revival at the beginning of the 00s. Wayans, with his habitual pile-'em-high attitude to gags, gives us references to Friday the 13th, Halloween, I Know What You Did Last Summer and many more. He cheekily plays up the genre's trope of attractive young teen victims somehow always put themselves in harm's way, epitomised by the demon in the Ghostface mask standing between two road signs pointing helpfully in different directions, SAFETY and DEATH, boiling down the slasher plot form to a single absurdist meme. A connoisseur spoof of 1940s noir detective stories, starring Steve Martin as the tough private investigator, directed and co-written by Carl Reiner, shot in black-and-white by Michael Chapman (who also shot Raging Bull) and accessorised with a gorgeously authentic musical score by Miklós Rózsa and costumes by Edith Head. Martin's character effectively speaks to the ghosts of the past as clips of old movies are intercut into the action, featuring the likes of Bogart, Cagney and Veronica Lake. Is that cheating in spoof terms? Maybe. But this is very well observed. The porn spoof is a genre that is mostly under the radar and under the counter – the porn industry itself regularly produces porn-spoof versions of mainstream films (Shaving Ryan's Privates, Everyone I Did Last Summer, For Your Thighs Only, etc), but that is a matter of porn spoofing the respectable films. For the other way around, there is possibly the (woefully unfunny) Carry On Emmannuelle, but more amusing and gleefully crass is the brief sketch in John Landis's The Kentucky Fried Movie – a spoof of porn and a spoof of trailers. It's a coming attraction taster for the shocking new adult film Catholic High School Girls In Trouble: 'Never before has the beauty of the sexual act been so crassly exploited!' Here is the original sequel-spawning Naked Gun, imminently to be revived with Liam Neeson playing the tough, stern detective: a movie spun off from the original Police Squad! TV comedy, which spoofed 60s TV cop shows such as The FBI. In fact, the original spoof targets of Naked Gun are so dim and distant in the pop culture collective memory that Naked Gun has its own kind of originality. Leslie Nielsen (carrying on from his brow-furrowing turn in the classic Airplane!) once again sent up the boilerplate heroic persona that he used to portray quite seriously, playing Det Lt Frank Drebin, and that rich baritone voice was vital to the absurd comedy. Alan Parker's Bugsy Malone was a movie-musical that spoofed the Prohibition-era Warner Bros gangster-crime genre by simply casting the film's tough guys as children who hit each other with custard pies instead of shooting guns. However, Jodie Foster, appearing here in the same year as Taxi Driver, was so precocious that she was considered an honorary adult in an entirely different league from the innocent kids in the rest of the film. (The idea was not entirely original: the 1905 silent The Little Train Robbery spoofed The Great Train Robbery of 1903 by using children and a miniature railway set.) Amy Heckerling's 90s masterpiece achieved a kind of double spoof: the story of high-school princess Cher, played by Alicia Silverstone, spoofed the form and content of teen movies by virtue of being elegantly modelled on a classic of English literature – Jane Austen's Emma. (Gil Junger's 10 Things I Hate About You did the same thing with Shakespeare's The Taming of the Shrew.) But, by the same token, it also slyly spoofed the generic mannerisms of Austen, and did so with loving admiration. Scott Sanders's blaxploitation spoof boasts a stream of outrageous gags, uproarious bad taste and strict attention to detail. It stars his formidable co-writer, the martial arts action lead Michael Jai White as Black Dynamite, who swears to avenge his dead brother and takes aim at the complicit white establishment in Washington DC and the 'Honky House'. Sanders lovingly reproduces the paradoxically old-fashioned imperatives of blaxploitation, masculinity and heroism, which were being affirmed at a time when the white American new wave was undermining them. This is a screwball self-aware comedy, a crazy madcap romp that its ever-increasing number of fans believe is touched by genius. Originally a Broadway show, it's a spoof of Broadway romances such as Gold Diggers of Broadway and The Great Ziegfeld. Butit's also a spoof of cinema and of musical theatre as represented in cinema, and of showbiz generally: the forms, the conventions and the grammar of all these are lovingly foregrounded. Actors Ole Olsen and Chic Johnson (from the original show) play themselves in the midst of a chaotic swirl of misadventures concerning whether or not a certain stage show can work in the world of motion pictures. David Wain is a film-maker who spoofed sex comedies in his Wet Hot American Summer of 2001. But this is surely his masterpiece: a devastatingly realistic, rigorously maintained spoof of a mainstream romantic comedy, played with absolute conviction by Paul Rudd and Amy Poehler, with the New York locations, cinematography, production design and supporting cast that would be in the real thing. Rudd and Poehler are the couple who come together in the big city (which is itself a character in the movie, as in any self-respecting romcom), and the film takes us through a complete story, while always making us aware that it isn't a 'real' romcom – the effect is fascinating, amusing … and even slightly scary. Mel Brooks's outrageous spoof western was, in one respect, very unlike the classic westerns it was sending up: it had a black man in the leading role. Cleavon Little is the railway worker Bart, who is promoted to sheriff by corrupt and cynical forces who expect him to fail (and so Blazing Saddles is not unlike Brooks's The Producers). But Bart finds himself teaming up with boozy gunfighter The Waco Kid, played by Gene Wilder, a tough guy who is, of course, on the point of redemption in the classic manner. There are some sophisticated fourth-wall-breaking gags and very unsophisticated farting jokes. Do spoof films have to generate comedy? And if their object is more serious, does that mean they need the posher title of homage? Todd Haynes's romantic drama Far From Heaven is a spoof of Douglas Sirk pictures such as All That Heaven Allows and Imitation of Life: films about the passionate inner lives of women in 40s and 50s America. But Far From Heaven is much more explicit on the subject of race, racism and gay sexuality than Sirk could allow himself to be – Julianne Moore is superb as the prim and proper housewife whose husband (Dennis Quaid) has a secret gay existence, and she falls in love with a black man, played with Poitier-esque dignity by Dennis Haysbert. For some, this is Brooks's greatest spoof, and possibly anyone's greatest spoof: a lovingly detailed recreation in luminous black and white of James Whale's original Boris Karloff-starring Frankenstein from 1931 , pastiching the Gothic romance tradition of classic horror from the forested dark lands of central Europe and using some of the original film's props. Cobbling together a recognisable human from disparate body parts – is that an allegory for spoof itself? Gene Wilder is the troubled neurophysiologist Dr Frederick Frankenstein, who realises that it is his terrible destiny to recreate the experiments of his disgraced grandfather Victor Frankenstein, creating a monster played by Peter Boyle. Rob Reiner's brilliant comedy spoofed the vainglorious and Brit-heavy rockumentary genre like Zep's The Song Remains the Same, but with superb incidental detail and observational flair that went beyond those films. Christopher Guest, Michael McKean and Harry Shearer are Nigel Tufnel, David St Hubbins and Derek Smalls of the legendary but failing heavy rock colossus Spın̈al Tap, here shown on an ill-fated comeback tour. Tap more or less spearheaded mockumentary comedy, cringe comedy and embarrassment comedy – later revived by Ricky Gervais and Steve Carell. It had to be. This is the highest plane (as it were) of pure spoof nirvana, marrying original gags to strictly observed satire and an unflinchingly deadpan delivery, symbolised by its most famous joke: 'Surely you can't be serious?' (You know the punchline, which brilliantly and economically enacts the repudiation of seriousness). The Abrahams-Zucker masterpiece is a brilliant, vibrant parody of the airline disaster genre, spoofing the Airport movies generally and anticipating Robert Zemeckis's later plane crash films like Cast Away and Flight. But it was in fact modelled with amazing closeness on one specific film: Zero Hour! from 1957 (by Arthur Hailey, who went on to write the Airport films), a melodrama that now cannot be watched except through a glaze of delirious disbelief. It was a masterstroke of Abrahams and the Zuckers to get veteran actor Leslie Nielsen to play the heroic lead in exactly the same straight-faced, resonant way as he would have if he was in the original – and the same goes for troopers such as Robert Stack, Lloyd Bridges and Peter 'Mission: Impossible' Graves. Genius.
New York Times
19-07-2025
- Entertainment
- New York Times
A Spy Thriller With an Unlikely Hero: A Disgraced Comedian
PARIAH, by Dan Fesperman 'Tragedy is when I cut my finger,' Mel Brooks once said. 'Comedy is when you fall into an open sewer and die.' A similar comparison could be made about the thriller genre. The domestic thriller is driven by self-contained, cut-finger tragedies full of personal drama, while the international spy thriller raises the stakes, with no less than the fate of the world often dangling over the precipice. Perhaps because of its exaggerated risks and us-versus-them story arcs, the spy thriller can feel like a relic of an age when we had more trust in government security apparatuses. Today, we tend to like our dangers closer to home, and our villains to be neighbors down the street. In truth, the formula for good spy thrillers hasn't evolved much from its Cold War heyday (John le Carré still looms over these novels as obstinately as Sylvia Plath does over confessional poetry). But there are exceptions. Dan Fesperman, wielding a sharp eye for atmospheric detail and a finely tuned ear for comic relief, has proved to be one of the genre's most exciting contemporary writers. His latest novel, the deliciously fun 'Pariah,' revolves around perhaps the least apt candidate for espionage work ever committed to ink: Hal Knight, a movie-star comedian and former Democratic congressman who has been #MeToo-ed for delivering a sexist rant on a film set. Hal is no Mel Brooks. His comedy is of the dumb, chauvinist, Neanderthal variety, and his films are beloved by 'the sorts of young men who spent most of their weekends at underage-drinking parties.' That's exactly the kind of track record that gets you voted into federal office these days, but Hal's political career lasted just six months before his public humiliation and cancellation. As it turns out, one of Hal's biggest fans is Nikolai Horvatz, the authoritarian president of the Eastern European nation of Bolrovia: a clear stand-in for Hungary, complete with far-right, repressive, anti-immigrant policies. When Horvatz invites Hal to his country as an honored guest, the C.I.A. cajoles Hal into working as a covert asset to gather intel on the secretive 'tinpot dictator.' Want all of The Times? Subscribe.
Daily Mail
18-07-2025
- Entertainment
- Daily Mail
EXCLUSIVE Spaceballs star Rick Moranis, 72, does not look like this anymore
Rick Moranis hasn't been seen on screen in a theatrical feature film in nearly three decades. So it was quite the shock for fans of the 72-year-old actor and comedian when it was announced last week that he will be making his long-awaited return to movies. Director Mel Brooks, 99, was in fine spirits as he shared the news that Moranis would be back in action for a sequel to his sci-fi parody Spaceballs (1987). The Canadian comedy legend appeared in the original film — which was beset by middling reviews before being adopted as a cult classic — as Dark Helmet, a parody of Star Wars ' Darth Vader. Since his comedy heyday in films of the 1980s and '90s, Moranis has been on a decades-long Hollywood hiatus to allow him to focus on raising his children as a single parent. Now, nearly 30 years after he stepped back from the silver screen, takes a look at what Moranis looks like today. The comic star was nearly unrecognizable when he was spotted this week on a busy day running errands in New York City. Moranis was on the move in a casual but sporty outfit with a pale yellow ribbed polo shirt, blue athletic shorts and a white baseball cap. He stuck with simple black trainers and carried a reusable back to take care of some shopping while he was out. The actor has stayed impressively trim over the last few decades, but his appearance was considerably different after losing the baby-faced looks that helped him get laughs early on. Moranis soundtracked his walk with earbuds, and he was seen marching back with two full bags after finishing his shopping. The Ghostbusters star's gradual retreat from Hollywood began following the tragic death of his wife Ann Belsky in 1991 after a battle with cancer. In a 2005 interview with USA Today, Moranis clarified that his family was his main motivation for holding off on more time-consuming film shoots. 'I'm a single parent and I just found that it was too difficult to manage to raise my kids and to do the traveling involved in making movies. So I took a little bit of a break,' he explained. 'And the little bit of a break turned into a longer break, and then I found that I really didn't miss it.' Moranis' final on-screen appearance in a theatrical feature was for the 1996 comedy Big Bully, which he starred in opposite Tom Arnold. However, the following year he played a lead role in the straight-to-video sequel Honey, We Shrunk Ourselves. Moranis was more willing to focus on voice acting in subsequent years, as recording sessions take far less time than on-camera appearances. He voiced characters in multiple children's cartoons, as well as his final theatrical film, the 2003 Disney animated feature Brother Bear. He continued with voice acting throughout the 2000s, and he made a rare live-action return for the TV Movie Bob & Doug McKenzie's Two-Four Anniversary, a sequel to the 1983 cult classic comedy film Strange Brew that costarred Canadian comedy legend Dave Thomas. Aside from that, Moranis' only roles in recent years were a brief voice appearance as his Spaceballs character Dark Helmet in a 2018 episode of The Goldbergs and a 2020 Mint Mobile commercial that he starred in with Ryan Reynolds. Despite mostly eschewing the spotlight, Moranis has clarified that he doesn't consider himself officially retired. After it was reported that he turned down a cameo offer in the woman-led 2016 version of Ghostbusters — which original stars Bill Murray, Dan Aykroyd and Sigourney Weaver all appeared in — Moranis explained prior to the film's release that he has only been on a 'hiatus,' and now that his children — Rachel and Mitchell — are grown up he is no longer opposed to acting. In 2015, he clarified that he didn't consider himself retired, but rather on hiatus, after he turned down a cameo in the 2016 woman-led Ghostbusters sequel He told The Hollywood Reporter in 2015 that he was simply much more selective about what roles he was willing to take on this far into his career. 'I took a break, which turned into a longer break,' he said. 'But I'm interested in anything that I would find interesting. I still get the occasional query about a film or television role and as soon as one comes along that piques my interest.' 'I wish them well,' he added. 'I hope it's terrific. But it just makes no sense to me. Why would I do just one day of shooting on something I did 30 years ago?' The film would have been a legacy sequel starring Josh Gad as the son of Moranis' reckless inventor, with the older star reprising his original role. However, the Covid-19 pandemic forced the production to be put on hold. Gad shared his desire to push forward with the project in subsequent years, and he said he had been collaborating with Moranis on the film as recently as 2022. However, Gad admitted in 2023 that the sequel is now dead in the water, though it could potentially be revived at a future date. Despite Shrunk's misfortune, Moranis will still be making his long-awaited return to movies with the Spaceballs sequel, which is slated for a 2027 release. The returning stars include Brooks, who will be playing his Yoda-like character Yogurt, along with Bill Pullman as Lone Starr and Daphne Zuniga as Princess Vespa. The film has also gotten some new blood, as Pullman's real-life son Lewis Pullman will be joining the cast to play his character's son Starburst, while Keke Palmer will be playing a character named Destiny and Josh Gad will be appearing in an undisclosed role. Brooks co-wrote and directed the original Spaceballs, but Josh Greenbaum is now taking over directing duties, while Gad, Dan Hernandez and Benji Samit are collaborating on the screenplay.
