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1998's attempted Saturday Night Live skit-to-movie adaptation is not so much a movie, but more like just a short, 81 minute series of skits that are almost completely right out of the show, so it's more like just watching a greatest hit's collection of the skits from the Saturday Night Live television show from the 90's. But, while this movie is definitely far from even being very good, it is still a fairly decent movie, and while it is so short, it actually manages to have some very funny scenes with Will Ferrell and Chris Kattan that are also definitely reminiscent of some of the SNL skits funniest moments. But, despite the PG-13 Rating, this movie is not appropriate for young kids or even most teen's: There is frequent crude and sexual humor with three very graphic but somewhat comical sex scenes that actually fairly much push the limit for the PG-13 rating. Also, there is some infrequent profanity with at least one useof the F-word. Finally, there is a extremely brief and subtle drug reference near the beginning of the movie that only older audiences watching the movie will get. So, it may not be a great comedy, or even a terribly memorable one, but it still makes you laugh while it's going.
One to file under: 'Better than it had any right to be'. For the most part whilst watching, I felt quite nonplussed by everything about 'A Night at the Roxbury' - it was neither pleasing or annoying me. By its conclusion, however, I actually felt like I enjoyed it. I feel like I should've disliked it, but the opposite is more true to be honest. Some of the humour lands, some of it doesn't - those dancing head nods, for example, are amusing, but the film seriously overuses it. I assume that's a carryover from the 'Saturday Night Live' sketch that this is based upon. Haddaway's 'What Is Love' is also overplayed throughout, though with that I actually felt the use was fitting - the music overall is good, to be fair. Will Ferrell and Chris Kattan make for a positive pairing, with Ferrell narrowly being the standout of the two - as you'd expect, I guess. Molly Shannon does well, as do Dan Hedaya and Richard Grieco. There are also a few interesting minor cast members, from Michael Clarke Duncan to Eva Mendes to Jennifer Coolidge. Just about 7/10, but 7/10 all the same.
Two young women and their friends spend spare time at an exclusive nightclub in 1980s New York.
Gangster's girlfriend hangs out in a Las Vegas hotel with her cop protectors while she waits to testify.
An endearing light comedy about a woman who spontaneously becomes a resident of Venice after her family left her behind. While enjoying the wonderful people she meets she achieves a new life and the first time independent of her family.
Vicki Morrison is the niece of the irascible old scoundrel Uncle William Morrison. When Vicki's boyfriend and owner of a Broadway nightclub Duke Randall needs $63,000 in a hurry, Vicki fakes her own kidnapping to raise the ransom money from her uncle. Things get sticky when the phony abduction turns real.
The "Caliban-Ariel" romance of fiftysomething John Barrymore and teenager Elaine Barrie is spoofed in this delightful 20th Century Fox musical. Adolphe Menjou plays the Barrymore counterpart, a loose-living movie star with a penchant for wine, women, and more wine. Alice Faye plays a nightclub singer hungry for publicity. Her agent (Gregory Ratoff) arranges a "romance" between Faye and Menjou. Eventually Faye winds up with Michael Whalen, allowing Menjou to continue his blissful, bibulous bachelorhood. Sing, Baby, Sing represented the feature-film debut of the Ritz Brothers, who are in top form in their specialty numbers-and who are awarded a final curtain call after the "The End" title, just so the audience won't forget them (The same device was used to introduce British actor George Sanders in Fox's Lancer Spy [37]).
A gay cabaret owner and his drag queen companion agree to put up a false straight front so that their son can introduce them to his fiancée's conservative moralistic parents.
Henny Brown, talent scout for the Margaret Ames Film Agency in Hollywood, mistakes Broadway show understudies Judy and Marian, for stars Betty and Eileen, and signs them up for movies. Margaret, furious with Henny for the blunder, fires him--but only temporarily. Another agent, Marty Allen, once married to and still in love with Margaret, signs Betty and Eileen. Henny arrives with Judy and Marian, and the nightclub manager asks Henny to emcee the show. Though he is not sure himself what they can do, Henny introduces the girls and they make a hit in a dramatic sketch. Big-time movie producer R. J. signs them to a film contract. Judy joins the WAVES, Marian the WACS and Marty the Marines and all have two weeks before induction, and that is more than long enough to shoot a Monogram musical-within-a-Monogram musical and have a few days to spare.
A simple filmed performance featuring Cantor, done up in his stage minstrel makeup, allegedly at the Ziegfeld Theatre Roof Garden, but actually filmed on a soundstage at the Paramount Astoria studio.
A mother's preference for partying, boozing and running around with an assortment of sleazy characters results in her neglecting her nubile teenage daughter, who subsequently finds herself mixed up with horny teenage boys, scuzzy nightclub owners and murder.
A coming-of-age story set in Germany in the 1960s. Siggi becomes involved in a love triangle when he falls for Luise, but the tightening political climate forces him to make a fateful decision.
Sade performs in the music video "Smooth Operator" from the album "Diamond Life" recorded for Epic Records and Portrait Records. Sade sings with her band in a lounge against a red background as people dance. A criminal in aviator sunglasses meets with several associates and makes a deal.