Date Night – A So So Comedy Thriller

Date Night is a so-so comedy thriller. For those wishing to master the screenwriting craft that’s a good thing, because you can often learn the most from a movie that isn’t too good or too bad. Its strengths and its flaws are easier to see.

With stars Steve Carrel and Tina Fey it’s hard to avoid comparing the film to The Office and 30 Rock. That just gives us another instance of the truism that the best writing in comedy is in television, not film. But the brilliance of those shows is actually more difficult to explain. With Date Night, techniques and choices, successes and failures, are clear.

The biggest challenge when you write a comedy screenplay is setting up the comic structure, what I call the “clothesline,” on which you will hang the jokes. This clothesline is essential in sitcoms too, but it is much harder to create in a movie because it has to stretch for at least 90 minutes, not 22.

You create the clothesline using two major structural elements, the comedy sub-genre and your hero’s desire line. This is where most comedy writers go wrong. They don’t realize that there are seven major comedy sub-genres, including romantic comedy and farce, and each has a completely different set of story beats you have to hit to tell the story well (see the Comedy Class for the beats in all 7 sub-genres).

In Date Night, writer Josh Klausner uses the comedy thriller form (a kind of action comedy), which goes back at least to the early Hitchcock films. Here we have the innocent couple on the run, forced to battle criminals or spies. This form is not used much nowadays because combining comedy with thriller creates real problems of tone. If the opponent is too deadly the jokes aren’t funny. There’s also a number of contrivances you have to explain away, most notably how two average shmos could possibly compete with, much less defeat, hardened criminals, and why don’t they just go to the police.

The Date Night script gets barely passing grades in these basic areas of storytelling. The unbelievability of Steve and Tina going up against professional killers is always present. But this isn’t a fatal problem because the audience just falls back on the fact that this is a comedy.

The advantage of using the comedy thriller sub-genre is that it gives the script a strong desire line that extends to the end of the story. Much like the detective line in The Hangover, this couple’s desire to escape attack and find the incriminating flash drive creates a strong narrative drive on which the writer can hang any number of funny but episodic scenes. It also allows him to save the funniest scene for last, which is one of the gold standards in a comedy movie and almost never happens.

As a comedy writer, your goal is always to make the comedy build. The laughs should stand on the waves of the laughs that come before until the audience is gasping for breath. That rarely happens in a movie comedy because you have to extend the story for 90+ minutes and because you have to tie up all the story business as you get to the end of the line.

Klausner solves this problem in Date Night, first by setting up the thriller line and second by keeping the final battle simple. Without a last omplex action scene to divert the audience from the jokes, Klausner can keep the focus on two top comic performers doing an incompetent pole dancing routine that brings the house down.

With the strong if hokey clothesline, the strength of the movie can come through, which are the funny bits that pop up throughout the story. Lines like “He turned the gun sideways; it’s a kill shot,” gags like the painfully slow motor boat and scenes like the marital spat between the Tripplehorns are laugh-out-loud funny. In Hollywood, the rule is if you have three laugh-out-loud moments in the film you have a hit. That’s a low bar for movies as opposed to television, but the important thing for writers to focus on is how you get those laughs. And that comes from the comic structure that supports the gags.

If setting up the clothesline is one of the big strengths of Date Night, the attempt to make the comedy come from character is one of the big weaknesses. Most writers have heard how valuable it is for the comedy to come from character, but few really know what it means, or how to do it. I discuss this a lot in the Comedy Class, because if you can master this set of techniques you immediately become one of the top comedy writers in the business. Let me focus on one technique in this area.

You must begin the story by establishing a deep weakness/need in the main character – in this case a couple – which then will be solved by the story line. In other words, the hero’s weakness must be embedded and solved all the way back at the premise line. The premise is your story stated in a single sentence. The Date Night premise might be described like this: a couple whose marriage has become predictable defeats criminals and renews their love.

The premise is like the hypothesis in a science experiment. It’s the fundamental truth about the world you are trying to establish. In an experiment you may determine that your hypothesis is wrong. But in a story you have to prove the premise. The sequence of story events must display in detail the truth about life you describe in one line. This is also called fulfilling the “promise of the premise,” the promise you make to the audience when they agree to come to the theater to see this story.

Klausner clearly wants to tell a story that proves the premise because he spends a great deal of time at the beginning showing that this couple’s marriage has grown stale from the demands of work and children. Even their date night hits the same old routine. The thriller structure is supposed to be the vehicle of renewal. It’s the same technique used, correctly, in Rear Window, where the Jimmy Stewart character learns to respect and commit to the Grace Kelly character by solving a crime with her.

But while this process is given lip service here, it never actually happens. Sure, escaping killers and bringing them to justice makes for an exciting night and a fun makeout session on the lawn the next morning. But it has nothing to do with changing what’s wrong between these two and how they will act differently toward one another for a 1001 nights in the future.

Klausner is definitely doing some things right here that most comedy screenwriters, even those with films under their belts, are not doing. He’s not reaching the level of the sitcoms in which these stars normally appear, but those sitcoms don’t have to tell a funny story over 90 minutes. Still, I can’t help feeling disappointed with this film. When a writer knows how to create comedy from character, you get great thematic comedies like Groundhog Day that express recognizable truths at the same time they make you laugh. Date Night is simply not in that league.

A Brief Report on Comedies

There are many comedy movies released to make 2010 as the funniest year. We can have an overview of an array of comedy movies by month wise.

On February 26th of 2010, Cop Out came out starring Bruce Willis, Tracy Morgan, and Seann William Scott. It is directed by Kevin Smith. The movie is about two veteran officers who were tracking down a vintage baseball which was stolen.

March was the spring season for comedy film industry. On this day a series of comedy films were released. Our Family Wedding was released. Forest Whitaker, America Ferrera, Carlos Mencia and Regina King are the actors in this comedy. Director is Rick Famuyiwa. The story is based on the difference in culture between African-American and Latino. Greenberg was also released on the same day, starring Ben Stiller, Rhys Ifans and Jennifer Jason Leigh.

The Director of the film is Noah Baumbach. The story is about a man in New York who is determined to do no job. He also manages to get a free stay with his brother. The Diary of a Wimpy Kid is about a wise school student. Zachary Gordon, Robert Capron and Steve Zahn are the actors. The director is Thor Freudenthal. Some other films are Hot Tub Time Machine and I Love You, Phillip Morris

In April, the movies Date Night, Death At A Funeral and MacGruber were released. Date Night is about the story of Claire and Phil Foster who were bored by living in suburban. Death at a Funeral is directed by Neil LaBute. This movie is marked by the language and dialogues since the director is an American and shot in Britain and had many American actors in it.

MacGruber is all about a man who is trying to defuse a bomb amidst all his personal problems. The director is Jorma Taccone, starring Will Forte and Kristen Wiig, and Jason Bateman.

The comedy movies released during the month of June were Killers, Get Him To The Greek and Grown Ups.In September, the movies Despicable Me and You will meet a tall dark stranger were released.

The Mask: A Modern Slapstick Movie – Comedy At Its Best

Deep in the bay, a piping worker finds a wooden mask in a locked metal box. Mean while, Stanley Imkiss a normal bank clerk gets walked all over at work. He buys concert tickets for his girlfriend. She says that she has a friend coming into town then. Stanley lets her go to the concert with her friend.

A coworker feels bad for Stanley and decides to take him out. Just then, a beautiful lady named Tina comes into the bank and sits at Stanley’s desk. She is really a spy.

Stanley then goes to pick up his car after the oil change only to find out that he needs a new transmission and brakes. He gets the broken down loan car from the dealership. He goes to a party with some of his friends but gets separated. They go in without him and Stanley isn’t on the guest list. Stanley leaves only to find his loaner break down on him a few miles away from the party. At the same time it begins to storm. He looks over the bridge and sees a man in the water. He rushes down to him only to find that it is a lump of garbage. He finds the mask in the lump and goes home. He goes home only to get yelled at by his landlord for rent payment and for the carpet he just ruined. It has been a very bad day.

He tries on the mask and it takes over him. He decides to go back to the party, but not without making a lot of noise for the landlord first. He then goes to the car shop and destroys the place. He wakes up the next morning without remembering a thing. A cop comes by and asks him about the disturbance that night. He knows it was him so he throws the mask out of the window. It finds its way back.

He is late to work. A reporter comes to see him about the disturbance at the auto shop. She gives him her number in case he remembers anything. That night he finds the mask on his couch and puts it on again. At the same time some thieves begin breaking into the bank. The Mask drops by and takes the money, leaving the thieves to get arrested without any money. He then goes to the same party as the night before. He even gets to dance with Tina, the same girl from the bank. The owners of the party recognize the Mask and tell him to give their money back. The police come just in time to not see the Mask Will the thieves get free? Will Stanley be connected with what the Mask has done? Watch and find out.