Rolling Stone | link ›
By Peter Travers
Buckle up for the existential bloodbath of Drive, a brilliant piece of nasty business that races on a B-movie track until it switches to the dizzying fuel of undiluted creativity. Damn, it’s good. You can get buzzed just from the fumes coming off this wild thing…Prepare to be blown away by Albert Brooks, cast way against type as crime boss Bernie Rose. Brooks, an iconically sharp comic voice, has toyed with villainy before (see Out of Sight), but never like this. Brooks’ performance, veined with dark humor and chilling menace (watch him with a blade), deserves to have Oscar calling. Read whole article ›
Boston.com | link ›
By Diane White
Albert Brooks is a keen and critical social observer, attested by his work as screenwriter, director, actor, and comedian. His first novel, “Twenty Thirty: The Real Story of What Happens to America’’ is an inspired work of social science fiction, thoughtful and ambitiously conceived, both serious and seriously funny.
In the year 2030 the United States is trillions of dollars in debt to China. Cancer has been cured, so more people are living longer, draining the Treasury with health care and other entitlements, while remaining youthful due to various medical and cosmetic breakthroughs. Millions of insensible people are kept alive, hooked up at great cost to expensive machines to appease powerful religious lobbies, and the influential nursing home industry. Young people feel they have no future and resent the “olds’’ for gobbling up their tax dollars. “He never even sent me a birthday present,’’ says one young man of his grandfather. “and now I have to pay for his wheelchair.’’ Continue reading
Los Angeles Times | link ›
By Patrick Goldstein
It’s hard not to argue, with only the smallest apology to Larry David, that Albert Brooks has the most distinct comic voice of his generation. When we were talking the other day, just after the announcement that Osama bin Laden had been killed by U.S. special forces in an affluent suburb of Islamabad, near an elite military academy and a lush golf course, Brooks said dryly: “It would be like Hitler living in Burbank. You’d have to think the Burbank police were in on it, wouldn’t you?”
Even though he is best known for directing and starring in a string of groundbreaking comic films like “Modern Romance” and “Lost in America,” Brooks, 63, has helmed only one movie since 1999, finding it easier to get work as an actor — he’s costarring in a new Judd Apatow film that shoots this summer. He’s also been busy penning his first novel, “Twenty Thirty: The Real Story of What Happens to America.” Due out Tuesday from St. Martin’s Press, the novel is a revelation, painting a caustic, unsettling and only occasionally comic portrait of a country plumb down on its luck. Continue reading
New York Times | link ›
By Dave Itzkoff
LOS ANGELES — For a guy who just wrote a whole book about the myriad catastrophes that could befall the United States in the next 20 years, Albert Brooks says he’s not interested in end-of-the-world scenarios and, more to the point, he’s too nervous to contemplate them.
“We’ve seen those stories where three people are left, and Denzel Washington’s wearing tattered clothes,” a spirited Mr. Brooks said recently at his Beverly Hills office. “It’s a great possibility, but I don’t want to imagine it. I try to keep it out of my imagination.”
Yet when he peers into the near future in his comic debut novel, “2030: The Real Story of What Happens to America,” which St. Martin’s Press will release next Tuesday, Mr. Brooks, the comedian and filmmaker, doesn’t necessarily find a lot to laugh about.
The good news is that cancer has been cured; the bad news is that this and other innovations have prolonged people’s lives to untenable lengths, draining the resources of a broke and broken United States, and polarizing relations between the young and the old, and between the merely old and the superannuated. With the economy and the American dream in shambles, a huge earthquake hits Los Angeles, testing the administration of the country’s first Jewish president. Continue reading
New York Times | link ›
By Janet Maslin
In his most recent film, “Looking for Comedy in the Muslim World,” Albert Brooks can be seen as a stand-up comic trying to entertain an audience in India. He tells a few jokes. Nobody laughs. He wonders why. Then he has the bright idea that maybe the crowd simply can’t follow him. How many people in the auditorium understand English, he asks? Every person in the audience raises a hand.
There you have it: an only slightly exaggerated vision of Mr. Brooks’s thankless career on screen. For decades he has been creating, playing and directing characters whose gloom is justified by their failures, despite the great deadpan dialogue they deliver and the groundless optimism to which they cling.
A small but loyal audience deems Mr. Brooks brave, brilliant, obsessive, fanatical and pricelessly funny even when he falls flat. A much larger crowd, the “Finding Nemo” audience, knows him as the cute, fretful voice of an animated fish. He now finds himself courting a new demographic: people who like alarming books.
With “2030” Mr. Brooks has made the nervy move of transposing his worrywart sensibility from film to book. Two things are immediately apparent about his debut novel: that it’s as purposeful as it is funny, and that Mr. Brooks has immersed himself deeply in its creation. “2030” is an extrapolation of present-day America into the not-so-distant future, and it is informed by the author’s surprisingly serious attention to reality. Unlike the fantasy writer who foresees a gee-whiz future full of alluring gimmicks, Mr. Brooks has dreamed up escapism about problems we cannot escape.
“2030” has a large cast of characters, like the Nobel laureate who cured cancer and the American president who will change his country in profound, irreversible ways. It also has frightening prescience. A 9.1 earthquake hits the Pacific Rim, with devastating consequences. The dollar’s run as the world’s reserve currency is long over. Debt is the era’s overriding issue on both the personal and the political levels, because the cancer-free elderly have stopped dying on schedule. The young bitterly resent the old, and the old have good reason to be fearful.
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Rediff India Abroad By Arthur J Pais
The script called for a shot of the exterior of the Pakistani High Commission in New Delhi but writer, actor and filmmaker Albert Brooks, who says he had received ‘unprecedented access to mosques, temples and monuments,’ quickly discovered that his list did not include the embassy.
Brooks’s film, now known as Looking For Comedy In The Muslim World, did not even have a title during the shoot. Or, if it did, hardly anyone knew of it. For one thing, he was afraid the title would create controversies. The film, which also stars America-raised Sheetal Sheth, revolves around a comedian (Brooks) who has to spend a month in India and Pakistan, write a 500 page report, and tell Washington what makes the over 300 million Muslims in the region laugh. But he finds people aren’t opening up. He is also surprised to discover there are no comedy clubs in India or Pakistan. So, he decides to put on the first comedy concert in New Delhi. His problems continue. Continue reading
Townhall.com By John Stossel
Sony Pictures got upset about a “bad” word. They demanded it be taken out of the title of a movie. The word is “Muslim.”
Give me a break. Do we have to be that sensitive? Or fearful?
The movie is “Looking for Comedy in the Muslim World.” The writer and star of the movie, Albert Brooks, says he made the movie because he was concerned that, in the wake of 9/11, Americans hated even the word “Muslim.” “A part of me always thought,” Brooks said, “what are there, a billion-and-a-half Muslim people on this planet, and I never thought that all of them wanted us dead.”
Los Angeles Times Calendarlive.com By Patrick Goldstein
Something’s wrong when a studio balks at a comedy this inspired.
Albert Brooks performs a stand-up comedy concert in "Looking for Comedy in the Muslim World." (Lacey Terrell)
In the days after the calamitous 9/11 terrorist attacks in 2001, there was a brief flurry of soul-searching in Hollywood, focusing in part on how much of a role our movies played in stirring Muslim rage against America. As innumerable cultural historians have discovered, many devout Muslims are horrified by the sexual innuendo and crass materialism in Hollywood films and music videos, not to mention Vanity Fair, whose salacious cover spread this month of Paris Hilton pretty much says it all when it comes to celebrating even the tawdriest members of our celebrity culture.
The Washington Post By Ann Hornaday
Is there an actor alive who can make discomfort as hilarious as Albert Brooks?
Woody Allen comes to mind, and indeed Brooks has often been called Allen’s West Coast obverse. But the comparison doesn’t do justice to Brooks as the original that he is. Happily, Brooks takes center stage in “The In-Laws,” a surprisingly sprightly remake of the 1979 movie starring Alan Arkin and Peter Falk. Here, Michael Douglas takes on Falk’s role of the high-flying undercover agent, but in the updated version Douglas is mostly a slick, loquacious foil for Brooks’s pained comedy, which gets only funnier as the film gets busier. As an anxious Everyman caught in a whirlwind of international intrigue and ever-escalating action, Brooks is a quietly molten core of hapless, and helplessly funny, midlife angst.
The New York Observer by Rex Reed
Salvaging what remains of the worst summer I can remember, I am off to greener pastures where, if I? lucky, I will not see a cell phone, a pierced tongue, a computer, a rock video, a traffic jam or a single motion picture released after 1950. Before I go, here are a few notes on how to get through the rest of August. First, don? miss The Muse, a charming broadside against the insanity of Hollywood by writer-director Albert Brooks that establishes Sharon Stone as a new goddess of comedy who will surprise and delight you despite what you think of her already. Continue reading