Last week saw the wide release of one of the year’s best documentaries, WEINER. Through very funny (and tragic at times) everything in this political profile is real (much to the title subject’s embarrassment). So, let’s turn the tables this week with a fictional comedy, shot and edited as though it’s a documentary. Yes, it’s another example of the hybrid made so popular by triple threat Christopher Guest (it’s almost as though he invented it), the “mock-umentary”. All the way back in 1984, Guest (with director Rob Reiner) torpedoed the serious film format with the look at a fictitious heavy metal band in THIS IS SPINAL TAP (later he, as actor/writer/director, would take on 60’s folk music with A MIGHTY WIND). Happily a current group of satirists have decided that those music styles are not the only ones ripe for ridicule (rap got some ribbing in 1993’s CB4). With the recent concert docs on Justin Beiber and One Direction, the talented trio known as the Lonely Island (Andy Samberg, Avika Schaffer, and Jorma Taccone) take aim at “bubble gum” idols and icons with POPSTAR: NEVER STOP NEVER STOPPING.
The “popstar” in the title is the “artist currently known as” Conner4Real (Samberg). The film quickly fills us in on his back story. He originally rose to fame as part of the much adored hip-hop “boy band” he formed with his childhood chums Owen (Taccone) and Lawrence (Schaffer), the Style Boyz. Conner seemed to be the breakout star of the team which led to a mid-concert smack-down with Lawrence. Conner would become a solo act (joined by Owen as his DJ), while Lawrence became a bitter farmer in the wilds of Colorado. Sold-out concerts and best-selling CDs elevated Conner to the rank of pop superstar. He’s managed by “old school” mentor Harry (Tim Meadows) and hard-driving publicist Paula (Sarah Silverman). They’re all prepared for the release of Conner’s new collection of hits, one that will break sales records set by his previous works. But things don’t work out ( a real understatement). Reviews are scathing, sales are limp, and so, desperate measures are taken in order to “course-correct” Conner’s career. Unfortunately each new move leads to bigger disasters, from a “synergy” alliance with a household appliance conglomerate to the hasty addition of a hot opening act for the sagging arena concert tour, the edgy hard-core rapper Hunter the Hungry (Chris Redd). Nothing seems to work, not even Conner’s tabloid-fodder romance with YA movie star Ashley (Imogen Poots). Will this doc become the chronicle of a rapidly fading and falling star?
Samberg leads this pack of comedy pros like a decorated general guiding his troops to victory against the many lackluster recent comedies (mainly two big studio efforts from a couple of weeks ago). Though Conner can be arrogant and obnoxious, with an unbridled ego, the superb Mr. S makes us care about him and even hope for him to triumph despite himself. He truly throws himself into every humiliation with a joyful energetic abandon. Happily his two Island pals are also up to the task. Taccone is an endearing stooge/lackey, trying and failing to hold on to his dignity. Schaffer is a surly delight as the angry and frustrated third wheel, particularly as he rants while displaying his crude wood carvings that adorn his dismal cabin. Fortunately the film is filled with lots of alumni from Sandberg’s alma mater, namely the Not Ready for Prime Time Players from TV’s Saturday Night Live. Meadows is endearing as the put-upon ego wrangler of Conner. Silverman is tough and focused with a sharp sarcastic streak. Maya Rudolph is terrific as an up-tight corporate queen as is Bill Hader as a laconic “roadie”. The real scene stealer may be the group of comic actors led by the snarky Will Arnett in a savage take-off of a popular “viral video”-inspired TV staple. This is a parody that truly draws blood, exposing certain fringe media “reporters” as screeching sadistic hyenas. They’re the inspired icing on an already tasty confection.
Taccone have Schaffer have helmed big screen comedy features before (MACGRUBER and THE WATCH respectively), but working on the script they co-wrote with Sandberg, they have reached new comic heights. Making light of pop excess may seem like “shooting fish in a barrel”, but the level of wit and invention is quite startling. The concert footage and the music videos (“Equal Rights” works on so many levels) are convincing recreations. The actors are mixed superbly with “talking-head testimonials” from real music stars (these folks are truly good sports). Yes, the film really earns it’s “R” rating for some excessive language, drug use (with blunts replacing martinis), and a crude but clever bit involving a limo ride, but the directors keep the pacing tight with the film clocking in at just under 90 minutes (hear that, Apatow?). There is that dreaded “lull” at the one hour mark, but the plot bounces back for a very satisfying finale’. This is a rebuttal to the 60’s pop standard, “There Ain’t no Cure For the Summertime Blues”. Those seeking immediate relief should seek out POPSTAR: NEVER STOP NEVER STOPPING (for laughter lasting more than 12 hours, please consult a physician).
4.5 Out of 5
