REVIEW: 2 BROKE GIRLS – SEASON 6

Kat Dennings and Beth Behrs in 2 Broke Girls (2011)

 

Starring

Kat Dennings (Thor)
Beth Behrs (The Neighbourhood)
Garrett Morris (Ant-Man)
Jonathan Kite (Black Dynamite)
Matthew Moy (No Strings Attached)
Jennifer Coolidge (American Pie)

Kat Dennings, Jonathan Kite, and Beth Behrs in 2 Broke Girls (2011)

RECURRING / NOTABLE GUEST CAST

Ed Quinn (Eureka)
Andy Dick (Road Trip)
Oliver Muirhead (The Social Network)
Mercedes Ruehl (Last Action Hero)
Joel Swetow (Charmed)
French Stewart (Mom)
RuPaul (But I’m A Cheerleader)
Christopher Gorham (Ugly Betty)
Nora Dunn (Bones)
Kerri Kenney (Santa Clarita Diet)
Mikaela Hoover (Happy Endings)
Ryan Hansen (Veronica mars)

Jennifer Coolidge, Oliver Muirhead, Kat Dennings, Jonathan Kite, and Beth Behrs in 2 Broke Girls (2011)

The sixth and final  season shows the girls success with their new desert Bar and the fun antics they have along the way. Sadly being the last season means we have to say goodbye to these characters.

Andy Dick, Garrett Morris, Kat Dennings, Matthew Moy, Beth Behrs, and 2 Chainz in 2 Broke Girls (2011)

Season Six Highlights are

Andy Dick, Kat Dennings, and Beth Behrs in 2 Broke Girls (2011)

And the Two Openings: Part 1 & 2

Max copes with the aftermath of her breakup with Randy, as the finishing touches are made on their new Dessert Bar; Sophie and Oleg prepare for the baby’s birth.

Mercedes Ruehl, Joel Swetow, Kat Dennings, and Beth Behrs in 2 Broke Girls (2011)

And the Godmama Drama

Oleg and Sophie plan to have Max and Caroline as their baby’s godparents, until Oleg’s domineering mother arrives, and fires the girls from their godmother duties.

Kat Dennings and Beth Behrs in 2 Broke Girls (2011)

And the College Experience

Max gives Caroline the party experience she never had when they’re invited to speak about their business at the University of Pennsylvania.

2 Broke Girls (2011)

And the Sophie Doll

The girls take a bartending class to add cocktails to their menu; Sophie creates a creepy lookalike video monitor doll to keep tabs on her baby.

Kat Dennings and Matthew Moy in 2 Broke Girls (2011)

And the Duck Stamp

Max and Caroline’s dessert bar business booms after hiring a popular bartender; Han becomes addicted to the mixologist’s potent cocoa powder, and enters a stamping-drawing contest.

Jennifer Coolidge, Frank Gallegos, Devon Werkheiser, Jonathan Kite, and Beth Behrs in 2 Broke Girls (2011)

And the About FaceTime

Randy sets Caroline up with one of his co-workers when he and Max get tired of her being a third wheel on their FaceTime dates.

Kat Dennings, Matthew Moy, and Beth Behrs in 2 Broke Girls (2011)

And the Planes, Fingers and Automobiles

Max and Caroline take a cross-country road trip to Los Angeles so Max can win back Randy.
Kat Dennings in 2 Broke Girls (2011)

And the Riverboat Runs Through It

Max and Caroline end up on a riverboat going to New Orleans when Max tries to reach Randy in Texas.
Kat Dennings and Beth Behrs in 2 Broke Girls (2011)

And the Stalking Dead

Max and Caroline are cast as zombie extras when they reach the movie set in Texas where Randy is working.
Ed Quinn, Kat Dennings, and Beth Behrs in 2 Broke Girls (2011)

And the Emergency Contractor

When Max and Caroline get home from their road trip, Caroline discovers she likes the dessert bar renovations as much as she likes Bobby (Christopher Gorham), the contractor on the job. Also, Max rushes to Randy’s side when she hears he’s in the hospital in New York City, and Sophie joins a mommy group that cares more about partying than baby talk.
Beth Behrs in 2 Broke Girls (2011)

And the Tease Time

Caroline decides to take a burlesque class to spice things up with Bobby, while Max decides to give up sex altogether.

Christopher Gorham, Kerri Kenney, and Beth Behrs in 2 Broke Girls (2011)

And the Jessica Shmessica

Caroline and Max meet Bobby’s family and discover that they still haven’t gotten over Bobby’s ex-girlfriend Jessica.
Kat Dennings and Beth Behrs in 2 Broke Girls (2011)

And the Dad Day Afternoon

Han tracks down Max’s birth father and the diner gang travel to Long Island to meet him.
Beth Behrs in 2 Broke Girls (2011)

And the Rock Me on the Dais

Caroline runs into her ex-boyfriend Candy Andy while she and Max attend a press junket promoting a movie about Caroline’s life.
Kat Dennings and Beth Behrs in 2 Broke Girls (2011)

And 2 Broke Girls: The Movie

The girls face big decisions about their future as the film about Caroline’s life makes its premiere.
Kat Dennings and Beth Behrs in 2 Broke Girls (2011)
A Great final season,  wish they could of done more seasons as it would of been nice to where they go from here, but still a great close to a great series.

REVIEW: SUPER

CAST

Rainn Wilson (The Office)
Ellen Page (Juno)
Liv Tyler (jersey Girl)
Kevin Bacon (A Few Good Men)
Gregg Henry (PaybacK)
Michael Rooker (Guardians of The galaxy)
Linda Cardellini (Scooby-Doo)
Nathan Fillion (Slither)
Andre Royo (Empire)
Sean Gunn (Gilmore Girls)
Stephen Blackehart (Death Racers)
Mikaela Hoover (The Guest Book)
Rob Zombie (House of 1000 Corpses)
Lloyd Kaufman (The Litch)
William Katt (Carrie)

1Frank (Rainn Wilson), a not-that-bright, not-that-handsome guy who can count the good things that have happened to him on one hand and who works as a cook at the greasiest spoon you’ve ever seen, has lost his recovering-addict wife (Liv Tyler, The Lord of the Rings)–one of those precious few good things–to a sleazy, drug-dealing club owner (Kevin Bacon). This unbearable injustice is the last straw for Frank, who has, to be sure, experienced no shortage of injustice in his time. After some surreal, hallucinatory soul-searching, and egged on by young, hyper Libby (Ellen Page)–a comics-shop clerk who nags her way into the role of his official sidekick–he becomes “The Crimson Bolt,” a fed-up DIY superhero who is going to not only save Frank’s wife and get them back together, but also make the world safe at long last for all the nice, mild-mannered people who have had enough of playing doormat for the world’s pushers (of all kinds) and shovers.Super_filmFrank is at the end of his rope; overstimulated Libby is terminally bored. They are in way over their heads, but they are too inspired to care, and The Crimson Bolt, accompanied by sidekick “Boltie,” can be heard to utter his catchphrase, “Shut up, crime!” as they use their trademark pipe wrench (for The Bolt) and Wolverine claws (Boltie) to whip violators into shape; whether you are a child molester or a smug, self-centered jerk who cuts in line at the movies, you had better watch out, because their adrenaline is pumping, and you are likely to end up in the emergency room with severe lacerations or a crushed skull. Gunn shies away from neither the ghastly injuries nor the pleas and cries of pain emanating from those on the receiving end of justice, Crimson Bolt-style. By now, we have been intentionally “shocked” often enough by movie violence, whether it be the flippant, choreographed Reservoir Dogs kind or in the devastating (and, I think, much more conscientious) Funny Games mode.super-movieIn the case of Super, though, the Taxi Driver comparisons Gunn has garnered for his film are apt; regardless of how many movies and TV programs may encourage cheering it on, “justified” violence is as ugly and difficult to stomach as any other kind, and it may even be more painful to watch a character whom you can relate to and whom you know to be acting out of conscience doing such unconscionable things. But Gunn’s film is quite different from Scorsese’s masterpiece in its willingness to wear its heart directly on its sleeve.Both Frank and Libby are damaged people whose emotions have been run roughshod over by life, they are rife with insecurities and uncertainties, and they want the reassurance of a fantasy world in which one’s moral certitude translates into real action and results. It is very, very easy for us to understand and sympathize with them…but then we cringe at the cruelty they rather randomly inflict as retribution for life’s crumminess (not to mention at the uneasy romantic tension that develops between the very married Frank and Libby, with her underfed emotional and sexual appetites). Gunn does not skimp on fully exploring either the righteousness of Frank and Libby’s rage or the unacceptable brutality that results from it; Libby’s comics-bred (over)enthusiasm might be able to override her less-than-fully-developed conscience, but Frank’s is too powerful not to impede his enjoyment of what they are up to, and he also seems burdened by the felt responsibility of being the older one, Libby’s role model and moral compass.
MV5BODNmODZmMTMtYTA0NS00ZDE1LThiZTQtMTQ4OWZhMTJlNTRjXkEyXkFqcGdeQXVyNTIzOTk5ODM@._V1_A great deal of the credit for the film’s ability to move us belongs to its actors. When it comes to embodying Frank in all his poor, pathetic put-upon-ness. It would have been a tragic misfire to play such a character as a dismissable laughing stock, and Wilson fortunately avoids that entirely, making Frank a character whose feelings are very real and every bit as valid as any of ours would be. Page does the same for the misguided but charming Libby, with her fumbling but authentic sexuality and her game-for-anything attitude that is hard not to like even as it tips her right over the deep end. It grows into a real pleasure as the film goes on, seeing the actors match, scene for scene, the physical boldness necessary for all their maladroit running, jumping, and ass-kicking with the emotional courage required to sympathetically depict their characters’ social and romantic clumsiness. Tyler and Bacon shine in their smaller parts, too.thumbnail.24481.4Gunn has not only pulled off his risky idea with aplomb, but at the visual level alone, he and cinematographer Steve Gainer have used the red digital video camera with a great feel for the visuals it can provide and the way the images it can produce–distinct from film, but offering a full palette from which to work cinematically–are able to serve the film’s story and tone. They expertly create a world for Super that is not movie-“ordinary” but really ordinary, in the litter-on-the-streets, used-car, rundown-buildings kind of way; the walls of Frank’s workplace, Libby’s apartment, and the comic book shop appear to actually be sweating. (Gunn uses a lot of handheld camera to add to the inelegance of “real life,” and for once it is an actually suitable as opposed to merely cool choice, really contributing something important to the film’s feel.) That realism clashes with some of the more graphically poppy, self-conscious elements in the film such as comic-book titles appearing up now and then in the most unlikely circumstances and, of course, Frank’s and Libby’s brightly colored costumes standing out starkly against the drab environment), and the jarring shifts works quite well to complement, on the visual level.