Unrated comedy movies

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In this funny documentary exploring the many talents of porn star Ron Jeremy, whose stout physical build and hairy back earned him the nickname The Hedgehog, director Scott J. Gill explores the actor from every possible angle while carefully avoiding hard core content. Bubbling with personality, Jeremy is extroverted and perverted, he loves attention of any kind, and he boasts a bold sexual aptitude (which viewers of his movies can certainly assert). Having starred in hundreds of films ranging from the campy THREE FOXES AND A DWEEB (which he directed, casting himself in the role of a professor whose students are especially eager to learn) to the trashy SNATCH MASTERS series (Jeremy starred in parts 9 through 12), this porn star has certainly been around the block. However, PORN STAR is not all breathy bedroom scenes, nor is it laugh-out-loud comedy. The documentary reveals a more human, lonely, vulnerable side of Jeremy that may make viewers reconsider the idea that the porn industry is all fun and games. In fact, maintaining such a prolific career has not been easy for Jeremy, and has taken a toll on his personal relationships. However, that does not subtract from Jeremy's celebrity status in the porn niche or his avid fan base.

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A gaggle of single Manhattan women experience the ups and downs of dating in this comedic HBO series that has earned wild popularity for its honesty regarding women's attitudes toward sex and relationships, as well as for its racy content. Sarah Jessica Parker stars as Carrie Bradshaw, the writer of a relationship column, who still has none of the answers. Though the men in her life come and go, Carrie is always surrounded by her friends: sex-hungry publicist Samantha Jones (Kim Cattrall), independent lawyer Miranda Hobbes (Cynthia Nixon), and Park Avenue princess Charlotte York (Kristin Davis). The four women couldn't be more different in their careers and romantic lives, but they come together over laughter and tears, especially where men are concerned. This collection gathers all six seasons of the show loved by women (and secretly watched by men).

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When a Miami mom loses her job as a secretary, her lowlife ex-husband is awarded custody of their young daughter. Taking a job as a stripper to raise enough money for a court appeal, she unwittingly attracts the obsessive and insistent attentions of a crazed, slavering U.S. Congressman. Adapted from the comic novel by Carl Hiaasen. The uncut version contains footage not seen theatrically in North America.

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In this funny documentary exploring the many talents of porn star Ron Jeremy, whose stout physical build and hairy back earned him the nickname The Hedgehog, director Scott J. Gill explores the actor from every possible angle while carefully avoiding hard core content. Bubbling with personality, Jeremy is extroverted and perverted, he loves attention of any kind, and he boasts a bold sexual aptitude (which viewers of his movies can certainly assert). Having starred in hundreds of films ranging from the campy THREE FOXES AND A DWEEB (which he directed, casting himself in the role of a professor whose students are especially eager to learn) to the trashy SNATCH MASTERS series (Jeremy starred in parts 9 through 12), this porn star has certainly been around the block. However, PORN STAR is not all breathy bedroom scenes, nor is it laugh-out-loud comedy. The documentary reveals a more human, lonely, vulnerable side of Jeremy that may make viewers reconsider the idea that the porn industry is all fun and games. In fact, maintaining such a prolific career has not been easy for Jeremy, and has taken a toll on his personal relationships. However, that does not subtract from Jeremy's celebrity status in the porn niche or his avid fan base.

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This fast-paced comedy romp includes a veritable cornucopia of delights. Whether its playing- up music videos, TV shows, or life itself, this is a rip-roaring riot of lampooning and laughter. Amongst the guests taking part are Slash, Michael Clarke Duncan, Gena Lee Nolin, Karen Black, and a whole lot more!

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In the tradition of SCARY MOVIE and NOT ANOTHER TEEN MOVIE, this tongue-in-cheek spoof incorporates every recognizable gay stereotype in the book. With a narrative modeled after AMERICAN PIE, the film follows four teen homosexual buddies in their attempts to lose their virginity before the summer's end. But instead of pie, this story includes sex toys, nudity, and quiche. Based largely on clichés of how gays are represented on film, ANOTHER GAY MOVIE is packed with jokes about the sexual orientation of countless actual celebrities.

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Bringing back the entire ensemble from the original hit comedy, AMERICAN PIE 2 finds Jim (Jason Biggs), Finch (Eddie Kaye Thomas), Kevin (Thomas Ian Nicholas), Oz (Chris Klein), and Stifler (Seann William Scott) reunited for the summer after their first year at college. When the boys rent a beach house, even more familiar faces--such as Vicky (Tara Reid), Jessica (Natasha Lyonne), and the Sherminator (Chris Owen)--begin to appear. Soon Jim discovers that the gorgeous exchange student Nadia (Shannon Elizabeth) will be making a romantic visit, and, in a panic, he heads for band camp to seek sex advice from the flute-playing Michelle (Alyson Hannigan). A worthy follow-up to AMERICAN PIE, this outrageous and entertaining sequel flaunts even more absurd antics and unlikely couplings. Erotic attempts continue to go awry, and musical instruments still find their way into the most inappropriate places. And once again, Eugene Levy brings down the house as Jim's nerdy yet understanding father. Fans of the first film will not be disappointed.

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While it might sound outlandish to speak of THE PINEAPPLE EXPRESS in the same sentence as CITIZEN KANE, in its own little neck of the cinematic woods the Judd Apatow/Seth Rogen comedy is perhaps just as groundbreaking. In fact, it's nearly impossible to think of another film that blends so seamlessly pitch-perfect stoner babble with high-octane action sequences. Dale Denton (Rogen), a process server with a weed fixation, witnesses a murder and turns to his dealer, Saul (James Franco), for support. The murderer is actually Saul's main drug supplier, and because of Saul's access to some extremely rare high-grade pot (called Pineapple Express) the two are quickly tracked down and put on the run. Like all Apatow/Rogen vehicles, the movie deals with the theme of men succumbing to adulthood and all the adjustments they are forced to make in the process. However, unlike KNOCKED UP and THE 40 YEAR OLD VIRGIN, PINEAPPLE EXPRESS is just too wacky to offer any lessons. Still, there's more going on here than giggles and the munchies. Indie director David Gordon Green (SNOW ANGELS) brings a subtle auteur's touch to the proceedings, approaching the smoking scenes with his distinctively loose feel and giving the action sequences a wonderfully dated sheen that makes them look more like a fight from KNIGHT RIDER than the empty flash of 21st-century blow-?em-ups. It is Franco, however, who truly steals this movie--he hasn't been this charming since his days on FREAKS AND GEEKS. There's only so many ways to play a stoner, but Franco puts his own endearing, lovable spin on the type, portraying Saul as a kind-hearted, well-intentioned yet hardcore dope smoker. Rogen and Apatow have proven themselves a nearly unstoppable juggernaut; here's hoping they bring Franco along on the ride a little more often.

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A clever, refreshing take on the "teensploitation" comedy, presented from the female perspective. Stream (Root) and her elite New York City prep school friends Jenny (Hoffmann) and Nell (Vessey) seemingly have it all--brains, looks, money, popularity--but when Stream looses her virginity to the ultra-popular "butter boy" Chad (Roday), she's left feeling that she's missing something... satisfaction. Confused, unfulfilled, and armed with a stack of self-help books, women's magazines and the comically misinformed advice of her peers, Stream besets upon a quest to achieve the ecstasy so often promised, but so rarely delivered.

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Following up his hit DUDE, WHERE'S MY CAR? writer-director Danny Leiner has come up with the riotous road-trip comedy HAROLD & KUMAR GO TO WHITE CASTLE. Harold (John Cho) has graduated college and is now working at a cubicle, where he is abused by other workers and forced to do their jobs for them. Kumar (Kal Penn) is expected to go to medical school to follow in the footsteps of his father and brother, but he'd rather spend his time partying. The entire film takes place in one night, as wild Kumar is determined to get a sack of burgers at White Castle, even though his more staid roommate would prefer to stay home and finish a project for his officemates. While Kumar seeks fun and adventure, lusting after nearly every woman he meets, Harold dreams only of Maria (Paula Garces), the woman down the hall whom he likes but is too afraid to talk to. Harold & Kumar's excellent adventure includes an outrageous bathroom scene in a college; a cop who takes his job way too seriously; a group of extreme, rad dudes who harass Harold, Kumar, and a convenience store manager; LAW & ORDER: SVU's Chris Meloni as an incredibly disgusting possible psycho; and Neil Patrick Harris playing himself, making fun of his Doogie Howser image. In addition to plenty of raunchy--and very funny--references to sex, drugs, and rock & roll, Leiner also takes on stereotypes and the meaning of love.

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In his feature film directorial debut, Joel Gallen spoofs the ever-popular teen genre. The students of John Hughes High School live the plot lines of numerous teen flicks, including SHE'S ALL THAT, AMERICAN PIE, TEN THINGS I HATE ABOUT YOU, VARSITY BLUES, and SIXTEEN CANDLES, to name just a few. The most popular boy, Jake Wyler (Chris Evans) has bet his friends that he can make Janey Briggs (Chyler Leigh)--the poor, smart girl from the wrong side of the tracks--prom queen. Meanwhile, her little brother is in pursuit of the most beautiful girl he's ever seen when he's not getting into trouble with his geeky friends. Of course, a teen movie wouldn't be complete without a mean-spirited cheerleading captain, a lovestruck best friend, and a foreign exchange student, all of whom have prominent roles in the film. Throw in a few guest appearances from familiar faces from some of the best-known teen movies of the 1980s, along with remakes of songs from the same films--and even some word-for-word dialogue--and you have an amusing walk down memory lane for anyone who has a soft spot for THE BREAKFAST CLUB, CRUEL INTENTIONS, and PRETTY IN PINK.

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Van Wilder (Ryan Reynolds) is a college stud who is in no rush to finish his coursework and graduate. In fact, after six years of partying his way through Coolidge College, his parents have decided to stop paying his tuition, but Van Wilder isn't worried--he just needs to find a way to pay it himself and keep the fun coming. His fundraising ideas include a topless tutorial service and other raunchy schemes, which only help add to Van's "Big Man on Campus" status. A romance develops between Van and Gwen (Tara Reid), who is writing an investigative piece on Van for the school newspaper. Through his exploits, Van eventually begins to turn over a new leaf, and finally grow up. But not before there are plenty of opportunities for the kind of gross-out humor that teen flicks like THERE'S SOMETHING ABOUT MARY and AMERICAN PIE have made so popular in recent years. The main set piece here involves dog semen injected into eclairs. While this is not exactly highbrow fare, teen audiences who are not too squeamish will enjoy this bawdy college romp.

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In DODGEBALL: A TRUE UNDERDOG STORY, Ben Stiller and Vince Vaughn team up once again (following STARSKY & HUTCH) for another comic romp. While hilariously satirizing modern-day gym culture, the film also celebrates a sport that has previously been relegated to the elementary school playground. Peter La Fleur (Vaughn) owns the decrepit Average Joe's gym, which has been losing its clients ever since the glitzy Globo Gym opened up across the street. White Goodman (Stiller), Globo Gym's main spokesman, is a preposterously vain egomaniac on the cusp of taking over La Fleur's failing business. La Fleur learns from a beautiful attorney (Christine Taylor) that if he doesn't come up with $50,000 in 30 days, his career running a gym will be over. Potential salvation arrives in the form of a Las Vegas dodgeball tournament, but conquering a sport one hasn't played in several decades isn't such an easy feat. Fortunately for Peter, he finds a coach for his team: the hardheaded, ex-superstar Patches O'Houlihan (Rip Torn). As Peter and his ragtag team make their way to the championship in Las Vegas, they must contend with White, who has assembled a team of his very own. Rawson Marshall Thurber's debut feature is a highly assured work, which features hilarious cameos from Chuck Norris, Lance Armstrong, David Hasselhoff, and William Shatner.

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This triple feature is a special set containing the tripartite teen sex comedy AMERICAN PIE series: AMERICAN PIE, AMERICAN PIE 2, and AMERICAN WEDDING. Massive hits, these films helped revive the irreverent, sometimes vulgar, teen sex comedy. Join Jim, the Stifmeister, Oz, Nadia, and Stifler's mom as they comically bungle their way through their erstwhile sexual conquests in high school and college, and finally tackle the big step of matrimony. See individual titles for details.

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When three beautiful (and unavailable!) women go to Palm Springs for the weekend, their intent is to relax and enjoy each other's company. Their mistake? Joining their wild single friend as she peruses bars, picks up men, and looks for one-night stands. Upon joining in the fun, these 3 women encounter a common problem--what will they say to their boyfriends back home?

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The EXTREME COMEDY COLLECTION celebrates bad behavior with a trio of MTV-generation comedies: BEAVIS & BUTT-HEAD DO AMERICA (1996), JACKASS: THE MOVIE (2002), and TEAM AMERICA: WORLD POLICE (2004). See individual titles for plot details.

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An antidote to the 1990s spate of urban coming-of-age films. The tale of a black youth sent to live with his father in the 'hood, this spoof parodies the key elements of such "serious" movies as "Boyz N the Hood," "Menace II Society" and "Juice."

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Comedy Central's cult-favorite COPS-spoof series, RENO 911! comes to the big screen with RENO 911!: MIAMI. The film follows members of the Reno P.D. as they desert the bright flashing lights of the biggest little city in the world for sand and surf and an invitation to the annual police officers' convention. It will come as no surprise to regular RENO-watchers that the incompetent police force--led by the earnest, hot-pants-wearing Lt. Jim Dangle (Thomas Lennon)--hit an administrative snag, and aren't allowed into the convention. But the crew decides to make the most of their multi-hour bus trip to Florida, until an emergency call to duty cuts their impromptu vacation short: they are expected to keep the peace in Miami while the rest of the nation's police forces are quarantined due to a biochemical warfare attack on the convention center. Finding themselves way out of their league in a high-tech police station and Mustang patrol cars, the Reno cops ineptly stumble through Miami, leaving destruction and hilarity in their wake. Although the RENO 911! police-farce schtick is often compared to the screwball comedy of the POLICE ACADEMY franchise, the improvisational comedic talent of its troupe sets it apart. Actors Kerri Kenney-Silver (as the unstable Deputy Trudy Wiegel) and Robert Ben Garant (as the loose-cannon Deputy Travis Junior) affectionately delve into the wildly stereotypical characters they portray, while also adding doses of humility that invoke a natural desire to root for them. RENO 911!: MIAMI allows the perpetual underdogs to really shine, providing a positive, warm message as an undertone to the over-the-top zany comedic antics.

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In this spoof of Hollywood blockbusters, director and screenwriter Craig Mazin (THE SPECIALS) tackles the age-old story of a regular guy who suddenly finds that he possesses super powers. Ricky Riker (Drake Bell) is a typical teenager, except that his luck is worse then most. Basically, he's a loser. He's been in love with beautiful Jill (Sara Paxton) for years, but is sure she doesn't know he exists. Even his techie best friend, Trey (Kevin Hart), is willing to throw him over for another clique. But Rick's life changes dramatically when a genetically enhanced dragonfly bites him during a school field trip. In a flash, he becomes the Dragonfly. He can scale buildings, and has immense strength--though he's still a klutz. Rick isn't sure he has what it takes to be a superhero, but it's up to him to save the city from the villainous Hourglass (Christopher McDonald), who literally sucks the life out of people, and threatens to harm those dearest to Rick. Mazin, who was one of the screenwriters for both SCARY MOVIE 3 and SCARY MOVIE 4, spoofs a gamut of superheroes, including Batman, Spider-Man, the Fantastic Four, and the X-Men. Marion Ross and Leslie Nielsen appear as Rick's Aunt Lucille and Uncle Albert, and a multitude of stars appear onscreen, albeit briefly, including Tracy Morgan, Regina Hall, Simon Rex, Craig Bierko, Pamela Anderson, Robert Hays, and Nicole Sullivan. Miles Fisher is particularly amusing as Tom Cruise, and Brent Spiner plays Hourglass's sidekick. Stick around after the credits start rolling for some additional footage.

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A gaggle of single Manhattan women experience the ups and downs of dating in this comedic HBO series has earned wild popularity for its honesty regarding women's attitudes toward sex and relationships as well as for its racy content. Sarah Jessica Parker stars as the writer of a relationship column, but has still has none of the answers in this collection of the entire third season.

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Nicholas Stoller's FORGETTING SARAH MARSHALL is a romantic disaster comedy produced by the same team that made such hits as THE 40-YEAR-OLD VIRGIN and KNOCKED UP, headed by writer, director, and producer Judd Apatow. When he gets suddenly and unceremoniously dumped by his longtime girlfriend, television star Sarah Marshall (VERONICA MARS lead Kristen Bell), composer Peter Bretter (FREAKS AND GEEKS alum Jason Segel) is devastated. Miserably depressed, he seeks solace in tawdry one-night stands, but he is desperate to win Sarah back. On the advice of his stepbrother, Brian (SATURDAY NIGHT LIVE's Bill Hader), Peter heads off to Hawaii for a much-needed vacation, but he gets even more freaked out when he discovers that Sarah and her new beau, wild and wacky British singing sensation Aldous Snow (comedian Russell Brand), are staying there as well. Mired in sadness, Peter is befriended by hotel employee Rachel Jansen (THAT '70S SHOW's Mila Kunis), who encourages him to get back his life and pursue his own dreams, which include staging a Dracula musical with puppets. But Peter is blinded by his desire for Sarah even as he grows closer to Rachel and starts hanging out with some of the hotel's odder personalities, including Chuck (Paul Rudd), a drug-addled surf instructor, and Matthew (SUPERBAD's Jonah Hill), a drug-dealing restaurant worker obsessed with Snow. Segel, who gets fully naked several times in the film, wrote the screenplay, a sharp blend of comedy and drama, and is solid in his first major starring role. Stoller, making his feature-film directorial debut, gets the most out of his diverse cast and beautiful setting, especially Jack McBrayer and Maria Thayer as a newlywed couple having some bizarre sexual problems, and Billy Baldwin as Sarah's costar in the television show CRIME SCENE: SCENE OF THE CRIME. FORGETTING SARAH MARSHALL is an outrageously funny yet touchingly sweet movie.

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Created by the team behind the cult television series THE STATE and VIVA VARIETY, Comedy Central's RENO 911! parodies reality cop shows through the outrageous antics of an inept police force in Reno, Nevada. The series' eccentric characters--a closeted lieutenant in hot shorts, a former topless dancer, a bilingual police dog trainer, and more than a few mentally unhinged deputies--are brought to zany life by a funny cast that includes THE STATE alums Ben Garant, Thomas Lennon, and Kerri Kenney. This collection presents every episode from the series' fifth season in unblurred, uncensored editions.

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This female flip on "lose your virginity" comedies follows an 18-year-old girl as she tries desperately to become a woman the night before throwing her cap in the air for graduation. With teenage libidos pulsing all around her, getting laid would seem a cinch. Unfortunately, that's easier said than she's done.

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What would happen if the characters in the thrillers SIGNS and THE RING started to hang out together? The answer: SCARY MOVIE 3. In the latest spoof from director David Zucker (TOP SECRET, THE NAKED GUN), beautiful television reporter Cindy (Anna Faris) covers a story about mysterious crop circles in the corn fields around Tom's (Charlie Sheen) home. Simultaneously, a mysterious videotape of disturbing images is circulating around town, and viewers receive phone calls saying that they will die in seven days. Intrepid reporter Cindy has a gut feeling that the crop circles and the videotape are linked--and she's determined to get to the bottom of the story. At the same time, she is playing mother to her creepy psychic nephew, Cody (Drew Mikuska), and sparks are flying between her and Tom's brother, wannabe-rapper George (Simon Rex). Celebrities abound in this goofy satire that pokes fun at a number of recent films through both sight gags and dialogue. Watch for appearances from Queen Latifah, George Carlin, Denise Richards, Fat Joe, Eddie Griffin, Ja Rule, Macy Gray, Pamela Anderson, Jenny McCarthy, Darrell Hammond, Method Man, Redman, and Leslie Nielsen as the President of the United States.

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When Jamie, who's already been wed and divorced numerous times, accepts yet another marriage proposal, her wildly varied group of girlfriends throw a bachelorette party at a local restaurant. There, the women gab about sexual frustrations and fantasies.

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"A man walks into a talent agent's office with his family and says, Have I got an act for you! The talent agent replies, So what do you do?" So begins "The Aristocrats," a joke that has been handed down from comedian to comedian for decades but is rarely told on stage. The next part of the joke varies, allowing for improvisation, and the only requirement in telling the joke is that it be as offensive as possible. Paul Provenza and Penn Jillette spent two years documenting as many versions of this infamous joke as possible, cornering comedians like Drew Carey, Whoopi Goldberg, Susie Essman, and Paul Reiser whenever and wherever possible. The results are surprising, and often take their humor to places that may make sensitive viewers uncomfortable. While comic legends such as Don Rickles, The Smothers Brothers, and Phyllis Diller admit their familiarity with the joke, they shy away from telling their own versions. Some may be surprised, however, to see performers who are normally associated with family-friendly material, including Bob Saget and Jason Alexander, describing scatological and incestuous acts with deadpan glee. Ultimately, though, THE ARISTOCRATS is more than just many versions of the same dirty joke--it is an exploration of the workings of the unrestricted comic mind.

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In this final chapter of the AMERICAN PIE teen comedy trilogy, mishap magnet Jim (Jason Biggs) and former band geek Michelle (Alyson Hannigan) have decided to tie the knot. Jim's friends Finch (Eddie Kaye Thomas) and Kevin (Thomas Ian Nicholas) are on hand to help with preparations, but the trio soon gets an unwanted fourth wheel in the form of the eternally obnoxious Steve "Stifmeister" Stifler (Seann William Scott). Meanwhile, Michelle's lovely younger sister, Cadence (January Jones), arrives and quickly becomes the object of affection for both the scholarly Finch and the loudmouthed Stifler. Who will win the heart of Cadence? And how many things will go wrong before Jim and Michelle walk down the aisle? (Hint: A lot.) By once again balancing the lewd and the crude with the touching, AMERICAN WEDDING continues the charmingly funny yet gross streak of the first two films. Anchored by creator/screenwriter Adam Herz's obvious love for the characters, the film begins with a hilarious proposal scene and keeps the antics coming. As with past films, Biggs and Scott are the instigators of most outrageous acts, but the movie also gives ample screen time to comedy veterans Eugene Levy (once again playing Jim's always-understanding father) and Fred Willard (who portrays Michelle's overprotective dad). A fitting finale to the series, AMERICAN WEDDING doesn't involve pie, but that doesn't mean something can't happen to the cake....

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Nicholas Stoller's FORGETTING SARAH MARSHALL is a romantic disaster comedy produced by the same team that made such hits as THE 40-YEAR-OLD VIRGIN and KNOCKED UP, headed by writer, director, and producer Judd Apatow. When he gets suddenly and unceremoniously dumped by his longtime girlfriend, television star Sarah Marshall (VERONICA MARS lead Kristen Bell), composer Peter Bretter (FREAKS AND GEEKS alum Jason Segel) is devastated. Miserably depressed, he seeks solace in tawdry one-night stands, but he is desperate to win Sarah back. On the advice of his stepbrother, Brian (SATURDAY NIGHT LIVE's Bill Hader), Peter heads off to Hawaii for a much-needed vacation, but he gets even more freaked out when he discovers that Sarah and her new beau, wild and wacky British singing sensation Aldous Snow (comedian Russell Brand), are staying there as well. Mired in sadness, Peter is befriended by hotel employee Rachel Jansen (THAT '70S SHOW's Mila Kunis), who encourages him to get back his life and pursue his own dreams, which include staging a Dracula musical with puppets. But Peter is blinded by his desire for Sarah even as he grows closer to Rachel and starts hanging out with some of the hotel's odder personalities, including Chuck (Paul Rudd), a drug-addled surf instructor, and Matthew (SUPERBAD's Jonah Hill), a drug-dealing restaurant worker obsessed with Snow. Segel, who gets fully naked several times in the film, wrote the screenplay, a sharp blend of comedy and drama, and is solid in his first major starring role. Stoller, making his feature-film directorial debut, gets the most out of his diverse cast and beautiful setting, especially Jack McBrayer and Maria Thayer as a newlywed couple having some bizarre sexual problems, and Billy Baldwin as Sarah's costar in the television show CRIME SCENE: SCENE OF THE CRIME. FORGETTING SARAH MARSHALL is an outrageously funny yet touchingly sweet movie.

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In what may go down in history as the most irresponsible, outrageous footage ever to be released by a major Hollywood studio, Paramount Pictures presents JACKASS: THE MOVIE. Based on the MTV show of the same name, creators and coproducers Jeff Tremaine, Johnny Knoxville, and Spike Jonze stretch their surprisingly successful concept into a feature-length film. Watch cast regulars Knoxville, Steve-O, Chris Pontius, Bam Margera, Dave England, Ryan Dunn, Jason "Wee Man" Acuna, Preston Lacy, Ehren McGehey, and Brandon Dicamillo as they perform a series of ridiculously dangerous and dangerously stupid stunts. Entering a rental car in a crash-up derby, snorting wasabi, eating a urine-soaked snow-cone, self-inflicting paper cuts, and using a store's display toilet are just a few of the increasingly obscene antics that unfurl at a relentless pace. A large portion of the footage finds the pranksters in Japan, dressing up in outlandish outfits and wreaking havoc on the unsuspecting locals. Whether or not this is a hysterical romp or a waste of eighty minutes is for the viewer to decide, but the fact can't be argued, JACKASS: THE MOVIE is slapstick entertainment for the 21st century, incorporating the modern world's fascination with reality television and obsession with disaster into a raucous, electrifying spectacle.

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Art imitates life in NATIONAL LAMPOON'S PLEDGE THIS! when Paris Hilton plays Victoria, a beautiful and rich woman that all the girls want to be and all the guys want to be with. Victoria is the head of the Gamma Gammas, the most elite sorority at Miami's South Beach University. Only girls who meet Victoria's strict criteria are allowed entrance into the Greek society. When FHM magazine names the Gamma Gamma girls the hottest sorority in America, Victoria decides to take advantage of both the publicity and the famous magazine's photo shoot. Paula Garces, Simon Rex, and Geoffrey Arend star along with Hilton, and Carmen Electra makes an appearance as well. In the spirit of movies like VAN WILDER and AMERICAN PIE, PLEDGE THIS! is a raunchy comedy about sexy coeds. This release boasts unique special features like topless menus and naked commentary.

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This frank--and frankly hilarious--Canadian indie certainly lives up to its risqué title, but there's more going on in than just sex in this debut from writer/director Martin Gero. Though the filmmaker has plenty of experience from his work on sci-fi favorite STARGATE: ATLANTIS, this comedy presents a reality-based look at relationships in the real world. YPF follows one night in the lives of four couples and one threesome. There's a pair on their first date, with a British bad boy (Callum Blue) trying to seduce his young coworker (Diora Baird). Meanwhile, a longtime couple (Kristin Booth and Josh Dean) attempt drastic measures to drag themselves out of their sexual rut. Though Mia (Sonja Bennett) and Eric (Josh Cooke) have ended their relationship, they try to reconnect on a physical level, but some old feelings resurface. Two close friends (Carly of POPULAR fame and writer Aaron Abrams) decide to add a new dimension to their relationship, but it turns out that there may be some emotions hidden beneath their buddy-buddy interaction. And finally, there's the awkward contact between two roommates at war (Peter Oldring and Ennis Esmer) who can only agree on the hotness of one of their girlfriends (Natalie Lisinska), but they decide to spend the night as a trio. YPF is fresh and funny, and it's hard not to identify with at least one of the pairings. The dialogue is witty, but it never feels rehearsed. Though most of the actors are unknown south of the Canadian border, each of them gives a heartfelt, genuine performance that should lead to more work in the future.

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It's the early 1970s and the local anchorman is not only a source of news but a revered local hero. In San Diego, Ron Burgundy (Will Ferrell), a mustachioed bachelor with a taste for scotch, unparalleled passion for the jazz flute, and a near-telepathic connection with his spirited mutt, Baxter, is that man. Rounding out Ron's testosterone-heavy news team are his close friends--cologne-obsessed man-on-the-street Brian Fantana (Paul Rudd), sports reporter Champ Kind (Dave Koechner), and mentally challenged weatherman Brick Tamland (Steve Carrell). Their male camaraderie is challenged, though, when producer Ed Harken (Fred Willard), pressured by changing times, brings the first female reporter, ambitious Veronica Corningstone (Christina Applegate), to the team. Ron finds his chauvinistic ideals compromised further when he starts falling in love with her. Fueled by Ferrell's singularly loopy persona, ANCHORMAN joins the long list of comedies which have successfully poked fun at the styles and mores of the '70s. Here, with Ferrell's script and Adam McKay's direction, the character of Ron Burgundy becomes a full-bodied comic creation whose possibilities for laughs aren't nearly exhausted by the end credits. The result is an often hilarious celebration of moustaches, wide neckties, alcohol abuse, and good, old-fashioned sexism.

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Director David Wain (WET HOT AMERICAN SUMMER) capably mixes the saucy and the sentimental in the bawdy boys-to-men comedy ROLE MODELS. Stuck-in-a-rut Danny Donahue (Paul Rudd) and womanizing man-child Wheeler (Seann William Scott) work together promoting Minotaur energy drink to high school students. But when Danny's girlfriend Beth (Elizabeth Banks) dumps him because he lacks maturity, his lashing out threatens to land him and Wheeler in jail. Their only way out is to act as mentors at Sturdy Wings, a Big Brother-esque organization run by reformed addict--and unrepentant flirt--Gayle Sweeny (Jane Lynch). There, Danny is paired with the decidedly dorky Augie (Christopher Mintz-Plasse) while Wheeler is the latest victim to take on foul-mouthed Ronnie (Bobb'e J. Thompson). After a bumpy beginning, both Danny and Wheeler connect with their kids over everything from sword-and-sorcery role playing to the chick-scoring power of the band Kiss. But when these two presumptive adults put their charges' well-being in jeopardy, they face both jail time and the loss of everyone's respect. With their own friendship on the brink of ruin, Danny and Wheeler--not to mention a little help from the magic of Kiss--must reach deep inside to prove to the world how responsible they can truly be. In the spirit of films like KNOCKED UP and THE 40-YEAR OLD VIRGIN, ROLE MODELS features a healthy dose of sharp humor and juvenile gags balanced by a feel-good message that growing up doesn't mean giving up what makes each of us special.

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The hilariously irreverent and enormously popular animated series THE FAMILY GUY expands to a feature-length movie in order to explore the true origins of maniacal baby genius Stewie Griffin. Seth MacFarlane's family of losers and misfits, headed up by bumbling dad Peter, was deemed too controversial by FOX and ended after an all-too-brief run, only to return to the channel by popular demand. It all starts out with Stewie's near-death experience, after which, shaken and questioning his life, the baby goes on a drinking binge. He resurfaces only when he sees on TV a man who looks just like him, and it dawns on him that this is his real father. Stewie embarks upon a road trip, intending to get to the bottom of it all, while meanwhile Peter is fired from his job for being a bad parent. A must-see for fans and neophytes alike, the movie delivers what audiences have been wanting all along: more FAMILY GUY!

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Three "ladies of the evening" repeatedly encounter the ghost of an instance grocery store bag boy after being forced to spend the night in a haunted house. Slapstick humor and bared breasts abound in this nutty horror comedy.

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Andy Stitzer (Steve Carell) rides his bike to his stockperson job at Smart Tech, has a nice apartment filled with collectable toys (in their original packages), and plays videogames every night before bed. He's also a 40-year-old virgin. During a poker game with his coworkers David (Paul Rudd), Jay (Romany Malco), and Cal (Seth Rogen), talk turns to sex and it becomes very clear that Andy doesn't know what he's talking about. His friends become intent on remedying his situation, and their advice leads to newfound confidence for naïve Andy. But when he develops true feelings for single mother Trish (Catherine Keener), Andy finds that all the sex advice in the world won't help him navigate the choppy waters of an adult relationship. In Andy, Carrell has found a perfect comic creation who is hilarious, lovable, and rooted in reality. Rudd, Malco, and Rogen are also perfectly cast as Andy's cheerleaders. The script, by Carrell and first-time director Judd Apatow (producer of TV's FREAKS AND GEEKS), is consistently funny, and--despite its relentless crudity--treats its nerdy protagonist with the utmost respect. This rare quality and its high laugh-to-joke ratio make VIRGIN one of the most enjoyable comedies of the decade.

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Lowbrow buffoonery hit commercial highs with 1994's DUMB AND DUMBER. When best friends and aspiring pet groomers Lloyd Christmas (Jim Carrey, in a star-making role) and Harry Dunne (Jeff Daniels) get fired, Lloyd convinces Harry to travel to Colorado to search for his dream woman--Mary Swanson (Lauren Holly). Little does Lloyd know that Mary's in Aspen trying to locate her kidnapped husband. Soon the dimwitted pair have gotten mixed up in the crime, and their wacky exploits are leading the FBI straight to the crooks. The Farrelly Brothers are at the peak of their twisted craft with this gut-busting comedy. But between such gross-out gags as Hary's Exlax overdose and Lloyd's deliriously over-the-top dream sequence, it's really the chemistry between Carrey and Daniels--and the charming naiveté of these two dunces--that lend the film a disarming sweetness.

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In the tradition of RISKY BUSINESS and AMERICAN PIE comes THE GIRL NEXT DOOR, a sex-soaked teen comedy that actually has a heart. High school graduation is nearing for senior class president Matt Kidman (Emile Hirsch), who has been more concerned with getting into college than partying. But all that changes one night when the gorgeous Danielle (Elisha Cuthbert) arrives next door. Engaging, funny, and wild, Danielle is Matt's dream girl come to life, and it appears that she likes him back. But before the two can consummate their relationship, his porn-obsessed friend Eli (Chris Marquette) reveals a shocking secret: Danielle's a porn star! When her wacky producer, Kelly (Timothy Olyphant), shows up to take her back to "work," Matt's life really begins to spiral out of control. All the while, he must continue to rehearse an incredibly important speech that will hopefully earn him a major scholarship. But, most importantly, Matt must win the heart of Danielle once and for all. Directed with irreverent yet good-natured sincerity by Luke Greenfield, with an all-star soundtrack (Marvin Gaye, Elliott Smith), THE GIRL NEXT DOOR has a breezy charm that might surprise some viewers. This is due in large part to Hirsch and Cuthbert, who deliver assured and engaging performances that help to sweeten the profane proceedings.

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When a kidnapping threat is held over two wealthy heiresses in the Hamptons, inept FBI agents Kevin (Marlon Wayans) and Marcus Copeland (Shawn Wayans), try to help out by disguising themselves as WHITE CHICKS in this wacky screwball comedy. With a little help from the FBI's prosthetics department, the agents don blonde wigs, blue contact lenses, and pale body paint to transform themselves into two Hamptons-bound sisters looking to live it up for the weekend. Miraculously the agents find themselves a surprise hit with the Hamptons set, providing plenty of laughs and quizzical looks as they frequently slip out of character. The lewd jokes come thick and fast, providing plenty of opportunities for the Wayans brothers to flex their comedic muscles. They poke gentle fun at a number of targets, mostly along gender and race lines, but also at spoiled teenage girls, and botox-riddled fashionistas. Scenarios are engineered to heighten the awkwardness of the disguises, including a dance competition, shopping sprees, and a fashion show. Director Keenen Ivory Wayans (SCARY MOVIE) manipulates his characters' flimsy attempts to pass themselves off as white women to provide plenty of gross-out, body-related humor, but also wraps the film up with a few salient lessons in life for the bumbling detectives.

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Comedy Central's cult-favorite COPS-spoof series, RENO 911! comes to the big screen with RENO 911!: MIAMI. The film follows members of the Reno P.D. as they desert the bright flashing lights of the biggest little city in the world for sand and surf and an invitation to the annual police officers' convention. It will come as no surprise to regular RENO-watchers that the incompetent police force--led by the earnest, hot-pants-wearing Lt. Jim Dangle (Thomas Lennon)--hit an administrative snag, and aren't allowed into the convention. But the crew decides to make the most of their multi-hour bus trip to Florida, until an emergency call to duty cuts their impromptu vacation short: they are expected to keep the peace in Miami while the rest of the nation's police forces are quarantined due to a biochemical warfare attack on the convention center. Finding themselves way out of their league in a high-tech police station and Mustang patrol cars, the Reno cops ineptly stumble through Miami, leaving destruction and hilarity in their wake. Although the RENO 911! police-farce schtick is often compared to the screwball comedy of the POLICE ACADEMY franchise, the improvisational comedic talent of its troupe sets it apart. Actors Kerri Kenney-Silver (as the unstable Deputy Trudy Wiegel) and Robert Ben Garant (as the loose-cannon Deputy Travis Junior) affectionately delve into the wildly stereotypical characters they portray, while also adding doses of humility that invoke a natural desire to root for them. RENO 911!: MIAMI allows the perpetual underdogs to really shine, providing a positive, warm message as an undertone to the over-the-top zany comedic antics.

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Writers/producers/directors Jason Friedberg and Aaron Seltzer (DATE MOVIE, EPIC MOVIE) use the film 300 as the basis for their latest spoof. Born to be the perfect Spartan, Leonidas (Sean Magiure) faces numerous trials en route to becoming a man, including a face-off with the penguin from HAPPY FEET. Once he has proven himself, Leonidas not only becomes king, but also marries superhot (and slightly slutty) Margot (Carmen Electra). When Leonidas learns that Persia's King Xerxes (Ken Davitian, BORAT) plans to make Sparta his own, he has his captain (Kevin Sorbo, HERCULES) recruit Sparta's finest and prepare them for battle against invading Persian forces. Unfortunately, that amounts to only 13 half-naked men with painted-on abs who literally prance to their destination. To make matters worse, Spartan councilman Traitoro (Diedrich Bader) is, well, a traitor. Still, Leonidas and his men face their enemy in battle, riffing on STOMP THE YARD, GHOST RIDER, TRANSFORMERS, and numerous other films along the way, as well as the video game GRAND THEFT AUTO. Freidberg and Seltzer poke fun at virtually every recent cultural phenomenon and pop culture personality, including Britney Spears, Kevin Federline, Paris Hilton, DANCING WITH THE STARS, AMERICAN IDOL, and DEAL OR NO DEAL. Even UGLY BETTY makes an appearance. Be prepared for an abundance of gross-out humor, spurts of bodily fluids, some sexual innuendo, and multiple jokes about homosexuality. Stick around after the musical finale as the credits start to roll: the deleted scenes prove to be some of the most amusing in the film.

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Continuing in the vein of their wildly successful SCARY MOVIE series, Jason Friedberg and Aaron Seltzer turn their comedic minds to the romantic comedy genre, resulting in DATE MOVIE, yet another rapid fire assault of send-ups of both recent and classic film moments. Utilizing MY BIG FAT GREEK WEDDING as the framework on which all the other jokes hang, Alyson Hannigan (AMERICAN PIE) is Julia Jones, the obese daughter of a not-so Greek family. Upon meeting Grant Funkyerdoder (Adam Campbell)--a suave British customer at the diner owned by her hummus-obsessed father (Eddie Griffin)--Julia decides to get massive liposuction in an auto garage (in a sequence based on MTV's PIMP MY RIDE) as a means to make herself more attractive to him. But this, as we know, is all merely a setup for a nonstop barrage of gags based on films such as HITCH, MY BEST FRIEND'S WEDDING, MEET THE PARENTS/FOCKERS, SLEEPLESS IN SEATTLE, THE WEDDING PLANNER, and more. A direct descendent of the AIRPLANE and NAKED GUN films, story is secondary in DATE MOVIE---what matters are the gags, and they come fast and furious. If one joke doesn't work for you, there's always another one just around the corner. Friedberg and Seltzer know their audience, and they make the most of their PG-13 rating--crudity abounds, with jokes about bodily functions figuring heavily in the mix. In her first leading role, Hannigan makes an appealing heroine (even transcending the fat suit she wears for for the first quarter of the film), and Fred Willard and Jennifer Coolidge, in an extended riff on Dustin Hoffman and Barbra Streisand's FOCKER roles, add some class to the proceedings.

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Poor Scott (Scott Mechlowicz) finds out his girlfriend is cheating on him and then thinks his European pen-pal Mike is trying to start a homosexual affair via e-mail. Once he realizes Mike is actually Mieke, a beautiful German girl, he and his buddy Cooper (Jacob Pitts) take off for Europe on a madcap quest to find her, discovering plenty of raunchy sex along the way. Hooking up with nerdy Jamie (Travis Wester) and his twin sister (Michelle Trachtenberg), they bond with soccer thugs in London, battle mimes in France, eat brownies in Amsterdam, guzzle absinthe in a European dance club, and generally raise mayhem. Gags include a grope-happy train passenger, a child impersonating Hitler, and some near incest. Matt Damon cameos as the punk rocker who belts out the hit song "Scottie Doesn't Know." Lucy Lawless (XENA) is a dominatrix in an Amsterdam sex club. The laughs are well earned and there's plenty of nudity and sex to satisfy the demanding audience for films of this sort (it's directed and produced by the team behind OLD SCHOOL and ROAD TRIP). Best of all are the performances from the four leads, who eschew the usual over-the-top mugging in favor of a more low-key approach to the material.

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University of Ithaca College freshman Josh (Breckin Meyer) misses his childhood sweetheart, Tiffany (Rachel Blanchard), who is going to school in Austin, Texas. Josh makes a tape proclaiming his love for her, but one of his friends accidentally mails the wrong tape; he instead sends the tape of Josh having sex with the beautiful Beth (Amy Smart). Josh had slept with Beth only after assuming that Tiffany had found someone else. So Josh, E.L. (Seann William Scott), Rubin (Paulo Costanzo), and Kyle (DJ Qualls), the geek with a car, set off in a powder blue Ford Taurus to intercept the tape before Tiffany can see it. They leave behind the insane Barry (Tom Green), who is on the multiyear graduating plan and would rather stay in the dorm and feed a live mouse to Mitch the snake. The group's 1,800-mile trip will feature encounters with exploding cars, crazy motel clerks, too-hip grandparents, stealing from the blind, the wrong fraternity, and that old stand-by, chef's revenge. The story is told in flashback, as the always frightening Tom Green leads a group of prospective students and their parents through an absurdly hilarious tour of the Ithaca campus, selling Josh's story as a reason to attend the school. ROAD TRIP is good raunchy fun, starring a likable cast of characters, told by director Todd Phillips with a charm that places it above the standard teen exploitation flick.

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When the box office champ Ben Stiller's comedic performances aren't a variation on a soft-spoken, put-upon everyman with an eventual fuse, he's usually playing a full-blown absurdist monster with an apoplectic Napoleon complex. These bizarre creations usually adorn films in which the funnyman provides the supporting work (DODGEBALL, HEAVYWEIGHTS), but, whenever he's directing, he's free to build an entire filmic universe around his asinine, ludicrously funny, culture-skewering characters and premises. His ZOOLANDER (2001) bit at the entertainment industry with silly abandon, but Stiller has firmly set TROPIC THUNDER within the realm of sophisticated Hollywood satire. In it, a desperate director named Damien Cockburn (Steve Coogan) trying to make a Vietnam war movie drops his pampered actors into the heart of the jungle. Cockburn's stars include Stiller as an action hero who's starting to make bad career choices, Jack Black as an insecure low-brow comedy star going through heroin withdrawals, and Robert Downey Jr. as an Australian Oscar winner so lost in his "craft" he underwent a procedure to become black for his role. In the jungle, they remain under the delusion that they are still being filmed even after they encounter a dangerous gang of druglords. The film's basic premise has popped up several times since Hollywood's 1970s golden age in films such as THREE AMIGOS! and GALAXY QUEST. Where those films simply blanketed a classic Overconfident Bumbling Idiot comedy showcase with a pop culture lexicon, however, TROPIC THUNDER could have only been made, as on-the-nose at is, by people who have been working in the Hollywood system for years, making cutting observations along the way. Simply put, this raucous satire knows big-budget filmmaking, the delusional narcissism of actors, and even the good points of those actors--perhaps why they're celebrated--like the back of its hand.

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THE WHITEST KIDS YOU KNOW comedians Zach Cregger and Trevor Moore star in this raunchy comedy. Eugene (Cregger) is just about to have sex for the first time with his gorgeous girlfriend when he falls down the stairs. He awakens from a coma four years later, and his desire to see his love is hampered by the fact that she is now a Playboy Playmate. MISS MARCH also stars Craig Robinson of THE OFFICE.

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Originally aired on MTV, this reality series follows the exploits of professional skateboarder Rob Dyrdek and his giant bodyguard Chris "Big Black" Boikin. As far as size goes, the two couldn't be more different--but appearances can be deceiving as the duo get in all sorts of crazy adventures with their trusted bull dog, Meaty, and beloved miniature horse, Mini-Horse. This collection presents every episode of the show's third season.

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This feature-length vignette-style comedy boasts a smorgasbord of young comedic talent, including Michael Cera (SUPERBAD, ARRESTED DEVELOPMENT), Ryan Pinkston (PUNK'D, SOUL PLANE), Frankie Muniz (MALCOLM IN THE MIDDLE), and Jamie Kennedy (KICKIN' IT OLD SKOOL). In the tradition of KENTUCKY FRIED MOVIE, the film is comprised of a series of sketches, most of which revolve around teenagers and sex. Matthew Lillard and Andy Milonakis also make appearances in this ribald offering from the team behind THE COMEBACKS and numerous MTV Movie Award parody sketches. Andy Samberg and Will Forte are among the numerous SATURDAY NIGHT LIVE writers to have contributed EXTREME MOVIE's uproarious script.

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When a teenage boy (Brandon Davis) becomes the owner of a pornographic magazine, his life changes drastically from the banal activities of a normal high school kid.

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Born of the world of underground skateboard videos--where viewers watch more for the accidents than for the tricks--JACKASS began as an MTV series before becoming a big-screen sensation in 2002. Four years on, Johnny Knoxville is a movie star, and cohorts Bam Margera, Chris Pontius, and Steve-O have started successful franchises. One would think that they have moved on---yet here they are, back for more stunts and pranks involving defecation, ejaculation, and pubic hair, and ranging from the disgusting to the ridiculous. Like its predecessor, undoubtedly--in relation to its budget--one of the most profitable studio films in history, JACKASS: NUMBER TWO is merely a series of wince-inducing stunts. These often result in injury--filmed with a handheld camcorder. Highlights this time around include a four-person teeter-totter in the middle of a bull ring; Knoxville, Pontius, and Margera being blasted with riot control pellets; fellow skate video alumnus Spike Jonze in elderly-woman makeup losing his clothing in public; and Knoxville blasting off on the outside of a rocket. And these are just the beginning. There are also puncture wounds, the guys endlessly laughing at one another's injuries, and more male nudity than one normally sees in a mainstream film (including a surplus of scarred and bruised bottoms). JACKASS: NUMBER TWO is bookended by two beautifully filmed sequences--first the gang does a jaw-dropping running of the bulls down a suburban street. Then (and nothing is being spoiled here) the film concludes with an elaborate Busby Berkely musical number. These sequences up the ante a little bit from the first installment, and though JACKASS TWO certainly isn't for everyone, it remains the best and safest way to see a guy blasted into a lake in a rocket-fueled wheelchair.

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The worlds of dancing and spoof step up and throw down in DANCE FLICK, the latest melange of movie parody from the Wayans clan. As the film opens, we meet Thomas Uncles (Damon Wayans Jr.), a hip-hop hopeful whose dance-competition loss puts him in debt to gargantuan gang leader Sugar Bear (David Alan Grier). But his luck begins to change when he meets the new girl at his performing-arts high school, Megan White (Shoshana Bush), an aspiring ballerina whose Juilliard dreams are shattered when her mother dies a heroically protracted death on her way to Megan?s audition. Though they start as prickly competitors, it isn?t long before Thomas and Megan?s mutual love of dance enables them to overcome the social and racial barriers between them. But will their unlikely love story be enough to inspire all of the school?s students, rekindle Megan?s dreams, and save Thomas as he returns to the hip-hop battlefield of his earlier defeat? In true family style, star Wayans Jr. and director Damien Wayans were assisted by the talents of fellow Wayans Keenen Ivory, Shawn, Marlon, Craig, and Kim to bring the film to life. Poking fun at everything from FAME to HIGH SCHOOL MUSICAL to TWILIGHT, DANCE FLICK is a raucous send-up that keeps its scatological beat grooving from start to finish.

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Katherine Heigl (GREY'S ANATOMY) and Seth Rogen star in this hilarious and touching comedy as two mismatched people brought together by a one-night-stand that results in an accidental pregnancy. Using many of the same actors from his previous film, THE 40-YEAR OLD VIRGIN, and his cult television series' UNDECLARED and FREAKS AND GEEKS, director Judd Apatow once again finds fresh humor in relationships and sex. Young, bright, and talented, Alison (Heigl) has everything going for her. After being promoted to an on-camera role at E! Television, Alison goes out to celebrate with her older sister, Debbie (Leslie Mann). Not long into the evening Debbie is called home to her kids, leaving Alison in the eager company of charming slacker Ben (Rogen). In the dark of the nightclub and in the ensuing drunk hours, Ben seems like a great guy. But in the sober light of day, Alison quickly discovers the man in her bed is nothing more than an overgrown child with no job, no money, and the social habits of a teenager. Brushing him off politely as a one-time affair, Alison goes on with her life, until two months later she realizes that the unthinkable has happened. Apatow establishes the differences between his protagonists early in the film, bringing their contrasting worlds to life with stellar performances by secondary characters. Paul Rudd has never been better in his role as Alison's bitter brother-in-law, whose somewhat dysfunctional marriage to Alison's feisty but insecure sister unfolds in parallel to Alison and Ben's story. Meanwhile, Ben's home resembles a frat house, and his friends (Jay Baruchel, Jason Segel, Jonah Hill, and Martin Starr), while hilarious, are hardly role models. KNOCKED UP will have audiences cracking up from start to finish, and it also deals with some serious issues about commitment, life choices, and becoming an adult. The film asks universal questions in a sweet and touching way, achieving a sad humor that distinguishes it from other films of its genre.

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A satire in the vein of EPIC MOVIE and DATE MOVIE, THE COMEBACKS, directed by Tom Brady (THE HOT CHICK), tackles the conventions of the inspirational sports movie with jock-like gusto. Led by washed-up coach Lambeau Fields (David Koechner), the losers of the title attempt to become a winning football team, while referencing a dizzying array of athletic-oriented films from Hollywood history, ranging from ROCKY to RADIO--the latter shamelessly parodied by a hapless, mentally challenged character named iPod (Jermaine Williams). Gleefully goofy in its send-ups of sports movies, THE COMEBACKS revels in broad slapstick humor that perfectly suits Koechner, who is perhaps best known as the obnoxious Todd Packer on the TV series THE OFFICE. (Koechner's fellow OFFICE mate Melora Hardin is also present, though the show's downbeat, quirky humor is notably M.I.A.) Other actors in the mostly unknown cast include real-life former football star Carl Weathers (the ROCKY films and, of course, ACTION JACKSON) and Matthew Lawrence, the brother of Joey Lawrence, who plays a quarterback with distinctly non-macho tendencies. Boasting comedic moments as subtle as the school bus that plows into a character during one scene, THE COMEBACKS doesn't pretend to be sophisticated--it happily indulges in its lowbrow status, making for an enjoyably guilty pleasure.

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When the box office champ Ben Stiller's comedic performances aren't a variation on a soft-spoken, put-upon everyman with an eventual fuse, he's usually playing a full-blown absurdist monster with an apoplectic Napoleon complex. These bizarre creations usually adorn films in which the funnyman provides the supporting work (DODGEBALL, HEAVYWEIGHTS), but, whenever he's directing, he's free to build an entire filmic universe around his asinine, ludicrously funny, culture-skewering characters and premises. His ZOOLANDER (2001) bit at the entertainment industry with silly abandon, but Stiller has firmly set TROPIC THUNDER within the realm of sophisticated Hollywood satire. In it, a desperate director named Damien Cockburn (Steve Coogan) trying to make a Vietnam war movie drops his pampered actors into the heart of the jungle. Cockburn's stars include Stiller as an action hero who's starting to make bad career choices, Jack Black as an insecure low-brow comedy star going through heroin withdrawals, and Robert Downey Jr. as an Australian Oscar winner so lost in his "craft" he underwent a procedure to become black for his role. In the jungle, they remain under the delusion that they are still being filmed even after they encounter a dangerous gang of druglords. The film's basic premise has popped up several times since Hollywood's 1970s golden age in films such as THREE AMIGOS! and GALAXY QUEST. Where those films simply blanketed a classic Overconfident Bumbling Idiot comedy showcase with a pop culture lexicon, however, TROPIC THUNDER could have only been made, as on-the-nose at is, by people who have been working in the Hollywood system for years, making cutting observations along the way. Simply put, this raucous satire knows big-budget filmmaking, the delusional narcissism of actors, and even the good points of those actors--perhaps why they're celebrated--like the back of its hand.

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$14
 

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ANIMAL HOUSE meets AMERICAN PIE in this hilarious continuation of the hit series. Known as one of the most notorious fraternities on campus, the Beta House is opening its doors to a whole new crop of pledges that includes Dwight Stifler (of the famed Stifler clan), and his cousin Erik. Full of insane parties and even wilder girls, the two freshman get in all sorts of trouble in this raunchy comedy that includes the great Eugene Levy, reprising his role as Jim's dad.

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Four high school seniors look forward to coasting towards graduation in FOREIGN EXCHANGE, a teen sex comedy in the vein of AMERICAN PIE. The antsy kids intend to take the easiest classes, and otherwise occupy their time playing host to the school's sexy new exchange students; in the end, however, the best laid plans (and best plans to get laid) end up thwarted by love, grades, and nosiest of adults.

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This double feature contains the original 1999 breakout comedy AMERICAN PIE and its later, straight-to-video spin-off feature AMERICAN PIE PRESENTS: BAND CAMP. A surprise hit comedy, Paul and Chris Weitz's AMERICAN PIE follows four high school friends--Jim (Jason Biggs), Finch (Eddie Kaye Thomas), Kevin (Thomas Ian Nicholas), and Oz (Chris Klein)--through their sexually frustrated senior year. Boy-next-door Kevin hopes to finally lose his virginity to his bubbly girlfriend, Vicky (Tara Reid), while football player Oz begins an unlikely relationship with quiet chorus girl Heather (Mena Suvari). Finch struggles to maintain his cool air of witty detachment, while the neurotic Jim, most famously, has an intimate moment with apple pastry--and, eventually, sexy exchange student Nadia (Shannon Elizabeth). This hysterical yet sensitive movie also features memorable characters such as the ever-wise Jessica (Natasha Lyonne), the imbecilic Stifler (Seann William Scott), the dorky Sherminator (Chris Owen), the flute-playing Michelle (Alyson Hannigan), and Jim's hilariously nerdy dad (Eugene Levy). A spin-off from the successful AMERICAN PIE film trilogy (AMERICAN PIE, AMERICAN PIE II, AMERICAN WEDDING), AMERICAN PIE PRESENTS: BAND CAMP meets up with Matt, the younger brother of Steve Stiffler (Seann William Scott), the stand-out jerk from the first three films. In this installment, Matt receives the punishment of being sent to the notorious band camp, made famous by Alyson Hannigan's character in the first AMERICAN PIE. Mischief and bad manners seem to run in the family, as Matt plays every practical joke in the book on his innocent campmates. It's all raunchy fun and games until a serious crush threatens to change Matt's fun-loving demeanor. Don't miss a guest appearance by Eugene Levy reappearing in his role as Jim's dad.

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Nikki Ziering (AMERICAN WEDDING) stars in this tour of some of the hottest Spring Break destinations in America.

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While nearly all Will Ferrell's films are enjoyable on some level, they tend to fire on all cylinders when Adam McKay is involved. McKay co-wrote and directed ANCHORMAN: THE LEGEND OF RON BURGUNDY and TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY, two of Ferrell's most popular and consummately hilarious films. McKay reteamed with not only Ferrell for STEP BROTHERS, but also Ferrell's co-star in TALLADEGA NIGHTS, John C. Reilly (who has steadily proven himself to be one of Hollywood's most versatile actors); and though STEP BROTHERS may be the most threadbare of the three movies on which the duo have collaborated, it's arguably their best. The plot is about as simple as they come: Brennan Huff (Ferrell) and Dale Doback (Reilly) are deadbeat man-children thrown together when the single parents with whom they live marry. The two initially despise one another, but become fast friends over a shared love of ninjas, COPS, porno mags, and the comforts of living in the fantasy world of a prolonged adolescence. What makes STEPBROTHERS so much fun, however, has nothing to do with story or script; rather, it's McKay's foresight to step back and let Ferrell and Reilly run wild. The duo kick and punch, fart and burp, laugh and cry, yet somehow elevate such banalities to a level of grotesque poetry, hitting upon what feels like an entirely new comedic language. When the pair act like children, they are not presenting themselves as immature adults, but are literally acting like children, meticulously duplicating everything from the fears and concerns to the speech patterns and awkward physicality of children. It sounds simple enough, but it requires a dexterity and sense of timing and delivery that is actually quite amazing. In the end, STEP BROTHERS is really nothing more than an absurd comedy; then again, isn't that what they called WAITING FOR GODOT?

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Produced by Judd Apatow and co-written by Seth Rogen--both of 40 YEAR OLD VIRGIN and KNOCKED UP fame--SUPERBAD is the story of two horny teenage geeks looking to lose their virginity before college. Seth (Jonah Hill) and Evan (Michael Cera) are hoping to end high school on a high note, and when one of their crushes (Emma Hill) invites them to a graduation party, the boys are ecstatic. That is, until they become responsible for supplying the party with alcohol. They hurriedly concoct a scheme to use their friend Fogell's (Christopher Mintz-Plasse) horrendously fake ID, but trouble soon arises when Fogell becomes the victim of a liquor store robbery. The cops (Rogen and Bill Hader) show up, and the evening quickly disintegrates into a hilarious mess of misunderstandings, crackhead sing-alongs, and beer mixed with laundry detergent. Hill is a riot as the wild-haired and foul-mouthed Seth, and Mintz-Plasse is great fun as the uber-geek Fogell. But Michael Cera (formerly of ARRESTED DEVELOPMENT) steals the show as the sensitive and levelheaded Evan. His oddball line delivery and excellent comic timing make for some of the most bizarre but best moments of the film. The sexual humor can be pretty graphic at times, which is no doubt what earned the movie its R rating. Yet, despite gross-out jokes involving menstrual blood and penis drawings, SUPERBAD somehow manages to fly far above frat-boy, AMERICAN PIE-style humor. This is partly due to the comedic skill of the actors, but also because the characters--silly and absurd though they can be--are so well-written. Watching these bungling outcasts is a vivid reminder of the horrific lows and supreme highs of high school life, and their antics rather poignantly capture how age 18 can indeed be super bad, but also super good.

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Dr. P (Billy Bob Thornton) runs a SCHOOL FOR SCOUNDRELS at which luckless men are given a crash course in the ways of the alpha male. Dishing out trite but, to the men involved, revelatory advice about how to "initiate confrontation" and "lie, lie, and lie some more," Dr. P turns his students into virile studs who hide their still-lingering insecurities behind sunglasses and absurd bluster. When one student, the kindhearted but painfully awkward Roger (NAPOLEON DYNAMITE's Jon Heder), has too easy of a time capturing the girl of his dreams, Dr. P's competitive streak goes off the charts and a battle between teacher and student ensues. After an exchange of several pranks, each with increased maliciousness and consequence, one of the two fellas lands the girl. While SCHOOL FOR SCOUNDRELS (based on a British comedy from the 1960s, and co-written and directed by Todd Phillips) doesn't reach the rambunctious fever pitch of OLD SCHOOL (also directed by Phillips) or contain the oddly endearing, near-sublime vulgarity of THE 40-YEAR-OLD VIRGIN, it does have its fair share of laughs. The primary redeeming quality of the film is its excellent cast, which features various alumni of THE UPRIGHT CITIZENS BRIGADE, SATURDAY NIGHT LIVE, and MR. SHOW (including Matt Walsh, Paul Scheer, Horatio Sanz, Sarah Silverman, and David Cross). Billy Bob Thorton has developed something of a mid-career cottage industry playing foul-mouthed S.O.Bs; Heder has the lovably awkward dork down to a twitch-filled science (his panic attacks nearly induce the same in the audience); and while former REAL WORLD LONDON cast member Jacinda Barrett is stuck in the somewhat restrictive girlfriend role as Amanda, she's genuinely charming and effervescent. Fans of the early-2000s "frat pack"-style comedies should find much to amuse them in SCHOOL FOR SCOUNDRELS.

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A media flurry ensues when a gay man protests against a governor who is vehemently opposed to gay marriage in the comedy feature WEDDING WARS. The twist in the tale is that the protestor's brother is set on marrying the governor's daughter.

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Produced by Happy Madison, Adam Sandler's production company, and written by and starring Allen Covert (a supporting player in several Sandler vehicles), GRANDMA'S BOY is an unapologetic ode to immaturity in 20- and 30-something males that features all of the staples of the genre---beer, bosoms, bongs, video games, and a karate kicking chimp. Covert's script, which revels in its nerdiness, details the plight of Alex, a 35-year-old video game tester who finds himself homeless when he discovers that his roommate has spent the last six months of their rent at a brothel. Left with no other option, he accepts his Grandma Lilly's (Doris Roberts) offer to stay with her and her two roommates--randy Grace (Shirley Jones) and near-catatonic Bea (Shirley Knight)--until he gets back on his feet. Though it seems that this new arrangement will wreak havoc on his highly social, pot-smoking life, and his attempts to romance his boss, Samantha (Linda Cardellini), he finds that closing the generation gap is much easier than expected. A low-budget ($5 million) relative of popular male-bonding comedies such as OLD SCHOOL, THE 40-YEAR-OLD VIRGIN, and WEDDING CRASHERS, GRANDMA'S BOY has a comparable anarchic style which, despite a multitude of gags you wouldn't want to watch with your parents, still seems to have nothing but the best of audience-pleasing intentions. Throw in some great music and several affectionate--and spot-on--skewerings of the geek lifestyle, and you have a classic depiction of arrested development that bears repeat viewings--especially if you're watching it in a dorm room.

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Sylvia Stickles's (Tracey Ullman) Baltimore neighborhood is becoming overrun with perverts, and she is very concerned. But that changes when Sylvia gets in a car accident, receiving a hard blow to the head that leaves her sexually voracious. Luckily, she gets a quick fix from Ray Ray (Johnny Knoxville), a tow-truck driver whom she soon discovers to be a high priest of sexual perversion. In the midst of searching indiscriminately for satisfaction and finally relating to her overly buxom, exhibitionist teenage daughter, Clarice (Selma Blair), Sylvia finds herself on the opposite side of a war for decency being waged by the neighborhood "neuters," in which every sexual encounter is an act of revolution! Nearly 35 years from the revolutionary PINK FLAMINGOS, John Waters proves that, even after showing his gentler side (HAIRSPRAY, CRY-BABY), he's not getting soft in his old age. Once again proving his gift for inspired casting--Chris Isaak plays Sylvia's husband and Suzanne Shepherd plays her mother--he creates a virtual comedic catalogue of strange sexual practices sure to please longtime fans and win over the uninitiated. While Waters is no-doubt pleased to have earned a taboo NC-17 rating (mostly for language), he also presents some good-natured fun in the midst of the pervasive perversity.

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This prequel to the frat comedy VAN WILDER revisits the campus titan?s freshman year in college. With his beer bongs prepped and shot glasses polished, Van Wilder (Jonathan Bennett) is amped to start his raunchy tenure at Coolidge College. But a formidable obstacle blocks the party animal?s path: the campus girls have taken a vow of chastity, thanks to the school dean. Can Van Wilder free these pent-up student bodies (especially one belonging LAGUNA BEACH's Kristin Cavallari) before they squander their youth studying?

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America's favorite pothead pals, Harold (John Cho) and Kumar (Kal Penn), return with an uproariously un-PC sequel that skewers everything from racial prejudice to the president of the United States. HAROLD & KUMAR ESCAPE FROM GUANTANAMO BAY picks up shortly after the first film, cult favorite HAROLD & KUMAR GO TO WHITE CASTLE, as the boys plan an impromptu trip to the Mecca of Marijuana: Amsterdam. There, Harold will unite with the love of his life and Kumar will achieve cannabis bliss. The two soon find themselves in hot water when Kumar sneaks a bong onto the flight and is mistaken for a bomb-wielding terrorist. Indeed, after a run-in with racist Homeland Security agent Ron Fox (Rob Corddry of THE DAILY SHOW), the two land in the hottest water of all: Guantanamo Bay, Cuba. After escaping from prison and fleeing back to the U.S., the two set out across country to get help from Harold's politically connected former classmate, who is also marrying the girl that Kumar let get away. Along this oddball odyssey they will encounter incestuous rednecks, the KKK, gun-toting prostitutes, and a drugged-out Neil Patrick Harris (HOW I MET YOUR MOTHER). But when the ex-classmate turns the two over to the authorities, Harold and Kumar must use their wits--plus a dash of luck and a dose of humility--to earn their freedom, win back their respective loves, and save their friendship. Original writers Jon Hurwitz and Hayden Schlossberg return for both screenwriting and directing credits, ensuring that the budding franchise retains the same subversive sensibility while upping the audacity of its satire. Frequently raunchy but reveling in the bonds of acceptance and friendship, HAROLD & KUMAR ESCAPE FROM GUANTANAMO BAY is a madcap romp that delivers plenty of humorous highs.

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Christian Slater plays a normal guy who is thrust into action by extraordinary circumstances. His heroics bring him into close contact with a woman (CAPTIVITY'S Elisha Cuthbert) injured during the recent crisis, and she gives him something to think about. HE WAS A QUIET MAN costars William H. Macy.

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Jason Friedberg and Adam Seltzer--the two guys who did EPIC MOVIE, DATE MOVIE, SCARY MOVIE, and MEET THE SPARTANS--bring you DISASTER MOVIE, a compendium of gross-out gags and reference-check quasi-satire bits aping THE INCREDIBLE HULK, INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL, HIGH SCHOOL MUSICAL, JUMPER, ENCHANTED, DON'T MESS WITH THE ZOHAN, SEX AND THE CITY, NIGHT AT THE MUSEUM, and so on. The story is structured via CLOVERFIELD with Will (Matt Lanter), after having a 10,000 B.C.-style dream involving an Amy Winehouse look-a-like (Nicole Parker), races against time to rescue his girlfriend (Vanessa Minnillo) who is trapped in a museum with references to TWISTER; meanwhile kids who look like the teens from SUPERBAD try and score booze. What? Along for the ride are a JUNO-esque slacker girl (Crista Flanagan) and Gary "G-Thang" Johnson; there are take-offs of ALVIN AND THE CHIPMUNKS, and celebrity impersonations of Dr. Phil, Michael Jackson, the real Kim Kardashian, and the ubiquitous Carmen Electra; lots of dances and fights and dance/fights (à la STEP UP and STEP UP 2 THE STREETS). The comedy talent here is mostly imported from MAD TV, particularly Parker, who also does ENCHANTED and a mean Jessica Simpson. The recipe here, as before, is to cram in as many pop-culture references as possible, douse liberally with gross bodily fluids, and serve face forward. In other words, it's the perfect film for loud shouts and inappropriate laughter with a roomful of one's most off-color cohorts.

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Comic genius Dave Chappelle trains his satirical eye on the vagaries of pop culture and race relations in his outrageous Comedy Central series CHAPPELLE'S SHOW. The edgy funnyman brandishes his unique style of streetsmart comedy to skewer everything from car commercials to the KKK, blending sketches, parodies, stand-up, and musical guest performances into a hilarious sendup of modern American life. This collection includes all 13 episodes of the series' second season, which introduces Eddie Murphy's brother Charlie and his classic real-life segments about singer Rick James.

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Intended to be a FRIENDS across the Atlantic, this BBC series offers the same virtual scenario as the New York-based series with one exception, a greater emphasis on sex. Six friends in various states of relationships are caught in hilarious and often embarrassing situations that often lead to sexual tension, if not out and out sexual activity. This collection comprises the entire first season.

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With a title that insures against accusations of false advertising, BEERFEST is a raunchy and genial amalgamation of ANIMAL HOUSE, STRANGE BREW, FIGHT CLUB, and every clichéd sports film ever made. Written by and starring comedy troupe Broken Lizard (SUPER TROOPERS, CLUB DREAD) and directed by Lizard member Jay Chandrasekhar, the film is unapologetically sophomoric, never missing a chance for a belch, flatulence, bared breasts, or Cloris Leachman doing lewd things with a sausage. After the death of their bar-owning German grandfather (Donald Sutherland), Jan (Paul Soter) and Todd (Erik Stolhanske) Wolfhouse must travel to Munich to scatter his ashes. Fortunately for them, it's Oktoberfest, but the brothers aren't there very long before they embarrass themselves at a public celebration and find themselves at Beerfest, an annual international underground beer-guzzling competition. When they compete, they are disgraced by their German cousins, the Von Wolfhausens--headed by father Jurgen Prochnow--who claim that the Wolfhouses' late grandfather stole a beer recipe from them many years before. Jan and Todd return home to train for next year's competition, incorporating into their team a few old college pals--male prostitute Barry (Chandrasekhar), burly Landfill (Kevin Heffernan), and science nerd Fink (Steve Lemme). For BEERFEST to work, it's imperative that viewers find humor in exaggerated German accents. Cloris Leachman appears to be enjoying throwing all comic caution to the wind, and Prochnow gets to lampoon DAS BOOT in a funny sequence. Big, sloppy, and ridiculous--compliments in this case--all apply to the third Broken Lizard feature, which is sure to burp its way into every fraternity house film library until the world ends.

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Owen Wilson and Vince Vaughn are an unbeatable combination as two Washington DC lawyers who get their kicks, and their girls, by crashing weddings. Displaying talent, wit, intelligence, and ample charm, the pair seldom fails at their mutual mission of seduction. But eventually they get bored with the routine. Everything explodes when they crash an upper-crust wedding given by US Senator William Cleary (Christopher Walken). Jeremy (Vaughn) makes the ostensible mistake of seducing Cleary's sexually ravenous daughter Gloria (Isla Fisher) and John (Wilson) falls head over heels for the beautiful, slightly sarcastic older sister, Claire (Rachel McAdams). But Claire is nearly engaged to a slimy, macho, ivy-league snob played with beady-eyed gusto by ALIAS's Bradley Cooper. The boys get lured away on a weekend trip to the Cleary's estate, which is when the film begins to resemble an early 1930s pre-code comedy with its innuendo-filled banter, eccentric grandmothers, suspicious rivals, and copious bed-hopping. Vaughn's motor-mouth aggression plays off Wilson's irresistible sensitivity (and vice versa) to such perfection that they leave other contemporary romantic comedy teams in the dust. They manage to get plenty of laughs and warmth from their believably close male friendship without resorting to any clichéd homoerotic references. Their respective love interests are also outstanding, particularly McAdams who displays extraordinary wit and presence in addition to her stunning beauty. Walken is surprisingly low-key as the senator, tuning his usual craziness down to a few tensile stares. Seventies mini-series staple Jane Seymour is memorable as the senator's sex-starved, boozed-up wife, who makes a play for John.

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Following up his hit DUDE, WHERE'S MY CAR? writer-director Danny Leiner has come up with the riotous road-trip comedy HAROLD & KUMAR GO TO WHITE CASTLE. Harold (John Cho) has graduated college and is now working at a cubicle, where he is abused by other workers and forced to do their jobs for them. Kumar (Kal Penn) is expected to go to medical school to follow in the footsteps of his father and brother, but he'd rather spend his time partying. The entire film takes place in one night, as wild Kumar is determined to get a sack of burgers at White Castle, even though his more staid roommate would prefer to stay home and finish a project for his officemates. While Kumar seeks fun and adventure, lusting after nearly every woman he meets, Harold dreams only of Maria (Paula Garces), the woman down the hall whom he likes but is too afraid to talk to. Harold & Kumar's excellent adventure includes an outrageous bathroom scene in a college; a cop who takes his job way too seriously; a group of extreme, rad dudes who harass Harold, Kumar, and a convenience store manager; LAW & ORDER: SVU's Chris Meloni as an incredibly disgusting possible psycho; and Neil Patrick Harris playing himself, making fun of his Doogie Howser image. In addition to plenty of raunchy--and very funny--references to sex, drugs, and rock & roll, Leiner also takes on stereotypes and the meaning of love.

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Upon his arrival at Shenaniganz, a suburban chain restaurant bedecked with decorative knick-knacks, new wait staff trainee Mitch (John Francis Daley) is placed under the wing of Monty (Ryan Reynolds), a veteran who first informs his young charge that all male employees engage in a game in which the object is to get others to unwittingly look at your genitals. Unwittingly, Mitch has stumbled into a world where servers--such as angry Naomi (Alana Ubach), and coquettish Serena (Anna Faris), along with a rowdy kitchen staff--led by randy Raddimus (Luis Guzman)--are at constant war with their demanding, low-tipping customers. Meanwhile, waiter Dean (Justin Long) must decide whether to take a promotion to manager or set out for brighter horizons beyond birthday songs and whimsically-named appetizers. The first film from writer-director Rob McKittrick has a low-budget charm that is well suited to the realistic desperation below its crowd-pleasing gross-out humor. Long is a likeable straight man to Reynolds' wisecracking ringleader, while Chi McBride and indie veteran Ubach (CLOCKWATCHERS) add texture in their supporting roles. A cousin in crudity to Kevin Smith's subdivision-themed comedies, WAITING will score a bull's-eye with service industry pros or anyone who prefers their comedy to originate from below the belt.

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Some may be gaining life partners or think they are getting serious, but the four friends at the heart of the hit HBO comedy series SEX AND THE CITY continue to have difficulties with sexual partners. The entire fourth season of the popular series is comprised here. Starring Sarah Jessica Parker, Cynthia Nixon, Kristin Davis, and Kim Cattrall.

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A brutally comic tale about a group of London friends who find themselves deep in debt to an East End tough, LOCK, STOCK AND TWO SMOKING BARRELS is quick-paced, stylized, and highly entertaining. In his debut feature film, director-writer Guy Ritchie weaves a tangled web of shady, blithely eccentric characters and several storylines, all of them coming together in a gleeful explosion of murder and mayhem. When streetwise charmer Eddy (Nick Moran), the son of steely bar owner JD (Sting), botches a gambling scheme with his dad's nemesis, porn king Hatchet Harry (P.H. Moriarty), he's got one week to come up with 500,000 pounds or he loses his fingers--and so do his friends Tom (Jason Flemyng), Bacon (Jason Statham), and Soap (Dexter Fletcher). While the pals scheme to make the money, Harry indulges his penchant for valuable antique shot guns, stolen for him by a couple of inept burglars. Soon the missing guns, a paranoid group of marajuana growers, a mean-spirited debt collector (Vinnie Jones) and his young son, and a violent bunch of thugs, are all thrown together in this tightly-woven, genuinely funny story that takes its inspiration from old British comic gangster flicks like THE LEAGUE OF GENTLEMEN and more recent films like RESERVOIR DOGS and THE USUAL SUSPECTS.

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While nearly all Will Ferrell's films are enjoyable on some level, they tend to fire on all cylinders when Adam McKay is involved. McKay co-wrote and directed ANCHORMAN: THE LEGEND OF RON BURGUNDY and TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY, two of Ferrell's most popular and consummately hilarious films. McKay reteamed with not only Ferrell for STEP BROTHERS, but also Ferrell's co-star in TALLADEGA NIGHTS, John C. Reilly (who has steadily proven himself to be one of Hollywood's most versatile actors); and though STEP BROTHERS may be the most threadbare of the three movies on which the duo have collaborated, it's arguably their best. The plot is about as simple as they come: Brennan Huff (Ferrell) and Dale Doback (Reilly) are deadbeat man-children thrown together when the single parents with whom they live marry. The two initially despise one another, but become fast friends over a shared love of ninjas, COPS, porno mags, and the comforts of living in the fantasy world of a prolonged adolescence. What makes STEPBROTHERS so much fun, however, has nothing to do with story or script; rather, it's McKay's foresight to step back and let Ferrell and Reilly run wild. The duo kick and punch, fart and burp, laugh and cry, yet somehow elevate such banalities to a level of grotesque poetry, hitting upon what feels like an entirely new comedic language. When the pair act like children, they are not presenting themselves as immature adults, but are literally acting like children, meticulously duplicating everything from the fears and concerns to the speech patterns and awkward physicality of children. It sounds simple enough, but it requires a dexterity and sense of timing and delivery that is actually quite amazing. In the end, STEP BROTHERS is really nothing more than an absurd comedy; then again, isn't that what they called WAITING FOR GODOT?

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Standup comedian Dane Cook (EMPLOYEE OF THE MONTH) stars in this romantic comedy as Charlie Logan, a successful dentist cursed with the affliction of having the women he dates fall in love with the next guy they meet. After a 1985 flashback reveals how, as a child, Charlie came to be hexed, the film finds the grown bachelor taking advantage of his predicament. Because he's never really loved any of the women he's dated, it doesn't hurt much when they leave. But when rumors start circulating that sleeping with Charlie is a lucky love charm, Charlie's popularity reaches new heights that even he, an experienced ladies' man, cannot keep up with. And this luck couldn't come at a worse time, as Charlie's just met his dream girl, penguin zookeeper Cam (Jessica Alba). Perhaps in Charlie's favor is the fact that Cam, despite her beauty and brains, happens to have a hex of her own--extreme clumsiness. Everywhere she goes, minor disaster quickly follows. Will Charlie be the next casualty of her accident-prone charm? While GOOD LUCK CHUCK revolves mainly around a sweet and simple romance, it contains enough one-liners to amuse fans of Cook's standup routine. Though conversations between Charlie and his plastic-surgeon best bud Stu (Dan Fogler) are almost all about sex, the dynamic between Cam and her brother (played by 30 ROCK's Lonny Ross) is slightly more offbeat. The film's sex-driven humor leads to a surprisingly graphic sex-scene montage between Cook and a string of women eager to sleep with him if it means they'll find true love immediately afterwards.

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Produced by Judd Apatow and co-written by Seth Rogen--both of 40 YEAR OLD VIRGIN and KNOCKED UP fame--SUPERBAD is the story of two horny teenage geeks looking to lose their virginity before college. Seth (Jonah Hill) and Evan (Michael Cera) are hoping to end high school on a high note, and when one of their crushes (Emma Hill) invites them to a graduation party, the boys are ecstatic. That is, until they become responsible for supplying the party with alcohol. They hurriedly concoct a scheme to use their friend Fogell's (Christopher Mintz-Plasse) horrendously fake ID, but trouble soon arises when Fogell becomes the victim of a liquor store robbery. The cops (Rogen and Bill Hader) show up, and the evening quickly disintegrates into a hilarious mess of misunderstandings, crackhead sing-alongs, and beer mixed with laundry detergent. Hill is a riot as the wild-haired and foul-mouthed Seth, and Mintz-Plasse is great fun as the uber-geek Fogell. But Michael Cera (formerly of ARRESTED DEVELOPMENT) steals the show as the sensitive and levelheaded Evan. His oddball line delivery and excellent comic timing make for some of the most bizarre but best moments of the film. The sexual humor can be pretty graphic at times, which is no doubt what earned the movie its R rating. Yet, despite gross-out jokes involving menstrual blood and penis drawings, SUPERBAD somehow manages to fly far above frat-boy, AMERICAN PIE-style humor. This is partly due to the comedic skill of the actors, but also because the characters--silly and absurd though they can be--are so well-written. Watching these bungling outcasts is a vivid reminder of the horrific lows and supreme highs of high school life, and their antics rather poignantly capture how age 18 can indeed be super bad, but also super good.

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In Todd Phillips' OLD SCHOOL, Mitch (Luke Wilson), a thirtysomething businessman, has found himself living a boring, mundane lifestyle. Unfortunately for him, his girlfriend, Heidi (Juliette Lewis), has been getting more adventurous on her own, by throwing wild sex parties while he's away. When Mitch catches her in the act, he moves out and takes up residence in a house close to the local university. This prompts his buddies--the newly married Frank (Will Ferrell) and Beanie (Vince Vaughn), a jaded husband, father, and stereo-store tycoon--to throw Mitch a huge party in honor of his renewed single status. Antics at the party lead to the formation of a makeshift fraternity where age and academics don't matter, and Mitch is the reluctant "godfather." But when the university's scheming dean (Jeremy Piven) catches wind of the new fraternity, he becomes determined to stop their fun. Will the boys overcome the dean's sinister plans? Will Mitch find love again? Will Frank please stop running around naked? And, hey, isn't that the cute girl who plays Jack Bauer's daughter on the TV series 24? These questions--and many more--are answered in the giddily fun and unabashedly immature OLD SCHOOL.

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