"Dumb and Dumber" review

By DONALD PORTER

Standard-Examiner staff  

 

The new Jim Carrey comedy “Dumb and Dumber” is another example of truth in advertising. It gets my vote for this year’s most pathetic, stultifyingly stupid and relentlessly moronic movie.

 

This isn’t a comedy that leaves you laughing – rather, it makes you wince.

 

The level of humor in “Dumb and Dumber” suits chug-a-lug night at the frat house, with umpteen scenes revolving around themes including – but not exclusive to – urination, defecation and nasal drainage.

 

To wit: Lloyd (Carrey), the dumb half of the “Dumb and Dumber” team of the movie’s title, slips a potent laxative into dumber-half Harry’s (Jeff Daniels) tea. Subsequently, Harry leaves for a date, and suffers a gastric attack upon arrival at the woman’s home.

 

Bad enough, yes, but “Dumb and Dumber” takes us where no mainstream movie comedy has ventured before: into the bathroom and onto the toilet with the intestinally challenged character, complete with facial grimacing and surround-sound effects.

 

Some movies aren’t afraid to dabble in bad taste. “Dumb and Dumber,” however, embraces bad taste like Roseanne holds fast to vulgarity: with a passion.

 

There seems no blow too low to strike at the audience, whether it be a gratuitous glimpse of Lauren Holly’s bare behind, a grade school prank performed with a cigarette lighter and flatulence, or an unwitting man swilling urine from a beer bottle.

 

Why Daniels became involved with this project is a good question; apparently the desire to feed one’s family knows no bounds. Carrey, on the other hand, has found great financial success with this debased form of comedy: “Ace Ventura” was a smash.

 

If you want an example of how low and completely unredeemable the popular cinema of our nation has become, you need look no further than “Dumb and Dumber.” Look for it to be a hit and, if so, heaven help us all.

 

Some scenes in “Dumb and Dumber” were filmed at Utah locations – including Ogden, Park City and Salt Lake City – earlier this year.

Stevenson plunges in- again – after ‘M*A*S*H’

From the Standard-Examiner, published sometime in 1985:

By DONALD PORTER

Standard-Examiner staff

McLean Stevenson in "M*A*S*H" (credit: IMDB.com)

SALT LAKE CITY - McLean Stevenson had been on the road for days, hyping his new show "America." His suits were rumpled, he was tired and irritable. It was only 10:30 a.m., but be had been speaking to groups of journalists and potential advertisers for several hours.

 

Finally, the man who gained fame in the role of Lt. Col. Henry Blake on “M*A*S*H” was taking a break, eating breakfast and making small talk with KSL-TV newscasters Shelley Thomas and Dick Nourse.

 

The laughter and chatter came to a sudden halt when his publicist appeared at the table, reminding him it was time for another interview.

“The Sandlot” interviews, April 9, 1993

By DONALD PORTER
Standard-Examiner staff


Renna

SALT LAKE CITY -- Patrick Renna and Chauncey Leopardi, two youthful co-stars of "The Sandlot," are sitting in a suite at the Hilton Hotel, attempting to verbalize their feelings about acting in the movie. It's a nostalgic kiddie-baseball fantasy, very much in the vein of the vintage "Our Gang" series.

Renna, a husky 14-year-old, plays Ham, the team's slugger and chief trash-talker. Leopardi, 11, plays Squints, a bespectacled half-pint with a taste for older, buxom women.


Brains and eggs at Bill and Nada'sYeah, Oct. 30, 1992

Yeah, that's my plate of brains and eggs.

One of the features I wrote in 1992 was a food story. I had some fun with it.

By DONALD PORTER
Standard-Examiner staff
SALT LAKE CITY -- If you know anything at all about Bill and Nada's, the landmark eatery north of Trolley Square in Salt Lake City, it's probably that the establishment serves brains and eggs.

That's right -- brains and eggs.

A local radio station, KLZX-FM, has fun with the dish in one of its promotions: "Jon and Dan in the morning," an authoritative voice intones. "A Utah institution -- like brains and eggs at Bill and Nada's."

Bill McHenry has been running the eatery since 1946, and brains have been on the menu since he opened the doors. Which means, of course, people have always eaten enough of his brains -- well, not his, exactly, but you know what we mean -- to make them a profitable dish.

"During initiation time at the university," McHenry says with a grin, "we go through a lot of 'em."

And that brings us to the obvious question: Why would anyone, of their own volition, eat the brains of any animal?

"Outtakes" movie column, Crispin Glover, June 1992

Glover in "Rubin and Ed"

For a few years in the early 1990s, I did movie reviews twice a week at Salt Lake City radio station KALL 910, one of the last of the full-service format AM stations. Most of that time I was on the air with midday host Peter Boam ("Peter B" on the air, great guy off the air), but remained after Peter was unable to renew his contract and spent some time with host Hans Petersen.

By DONALD PORTER
Standard-Examiner

SALT LAKE CITY -- The news was both exciting and ominous: Crispin Glover would be joining me in the KALL radio studios for a live interview.

Exciting because Glover is one of those rare, genuinely original actors who delivers unexpected performances in films on a consistent basis -- Marty McFly's geeky dad in "Back to the Future," a teen speed freak covering up a murder in "River's Edge," Andy Warhol in "The Doors," a cockroach-obsessed wacko in "Wild at Heart," to name a few.

With Glover, you never know what you're going to get.

Which brings us to ominous: He has an unsettling reputation for giving interviews that turn ugly and stay that way. Glover frightened David Letterman sufficiently enough to get himself ejected from "Late Night with David Letterman" after nearly kicking the host's face (Glover returned, somewhat calmer, a week later). He stuttered and giggled his way through the "Tonight Show" a time or two and has transformed the occasional radio interview, conducted by ignorant and unsuspecting hosts, into Painful Radio Listening.

"Outtakes" movie column, Dec. 25, 1987

There's a new game in town called "Who's Tom Grunick?" It was inspired by "Broadcast News," the new James L. Brooks film about TV news operations' nasty habit of rewarding simpleminded people with news-anchor jobs.

Tom Grunick is the character played by William Hurt. And there are no two ways about it, Tom is a dim bulb. A former sports anchor (not a reporter, since Tom only reads the news, thank you), Grunick anchors the network news on weekends out of the Washington bureau: His hair is neat, he has a friendly smile, he has the ability to read news copy smoothly in front of millions of people. But most importantly, and most dangerously, Tom feigns emotion in front of the camera to add emotional impact. He is a man without ethics.

So what I've been trying to figure out since seeing "Broadcast News" last week is this: Who are the Tom Grunicks of the Wasatch Front? It's great fun to play the game, sitting in front of the idiot box and flipping back and forth between the three local news shows on KUTV, KTVX and KSL.

Peter Bogdanovich interview, 1993

“The Thing Called Love” is one of a thousand curious marketing stories in the history of the film business. It was directed by Peter Bogdanovich, who had a string of big hits and critical favorites in the 1970s – “The Last Picture Show,” “What’s Up, Doc?” and “Paper Moon,” and then again in the ’80s hit with “Mask.” (Bogdanovich is also known as a film historian who conducted extensive interviews – and had friendships – with legendary directors like Orson Welles and John Ford. And as the lover of the tragic Dorothy Stratten.) In August 1993, there was a press screening for “The Thing Called Love,” a showbiz-insider movie about wanna-be country music singer-songwriters pursuing their dreams in Nashville. The music genre was exploding in popularity around the country at the time. It starred the long-established River Phoenix, who would sadly be dead of a drug overdose in a couple of months, and up-and-comers Samantha Mathis (“Broken Arrow”), Dermot Mulroney (“My Best Friend’s Wedding”) and Sandra Bullock. All the Salt Lake-area critics assumed the film would be opening wide. I was a bit surprised when I was offered a phone interview with Bogdanovich – granted, he hadn’t had a hit in a while, but still … Anyway, he called and I’ve pasted in the transcript from the interview below. The Standard-Examiner, Salt Lake Tribune and Deseret News published interview stories the day the film opened in local theaters. But it turned out the film was being test-marketed in Utah only – it didn’t open wide until a month or so later, if memory serves. The studio had decided to test-market it in a region friendly to country-western music to see how it would play. I don’t think it made much money here, and it bombed nationally later on, even with the curiosity surrounding the tragedy of River Phoenix’s O.D. (Incidentally, Phoenix overdosed in Los Angeles during a break from filming a movie, “Dark Blood,” in Utah – a movie that was never finished or released.) Here now is the interview with Peter Bogdanovich, who was a lot of fun to speak with.

Don Porter: I SAW THE FILM LAST WEEK AND THIS SEEMS TO BE ONE OF THOSE RIGHT-FILM-AT-THE-RIGHT-TIME SORTS OF MOVIES.

Peter Bogdanovich: “Boy, I hope so, Don.”

SEEMS MAYBE IT'S SORT OF RIDING THE WAVE OF COUNTRY MUSIC POPULARITY. HOW MUCH DID THAT PLAY IN YOUR DECISION TO BECOME INVOLVED WITH THE FILM?

“I like country music; I always have. I mean, always – ever since 1970, when I went to Nashville -- when I was preparing ‘Last Picture Show’ I went to Nashville to meet with some country-western singers to get to know more about country music because I wanted to use it in the movie. And I sort of fell in love with it then, and have used it in five or six pictures since then.