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| Funny Ha Ha | 
 enlarge | Actors: Mark Capraro, Jonathan Clermont, Kate Dollenmayer, Sheila Dubman, Thomas Hansen (ii)
Studio: Fox Lorber
Category: DVD
List Price: $14.95
Buy New: $8.48
You Save: $6.47 (43%)
New (34) Used (12) from $4.99
Avg. Customer Rating:  28 reviews
Sales Rank: 56434
Format: Color, Full Screen, Ntsc
Language: English (Original Language)
Rating: NR (Not Rated)
Number Of Items: 1
Running Time: 89
Aspect Ratio: 1.33:1
Shipping Weight (lbs): 0.2
Dimensions (in): 7.1 x 5.4 x 0.6
MPN: 5465
UPC: 720917546520
EAN: 0720917546520
ASIN: B0009Y25ZU
Theatrical Release Date: 2003
Release Date: August 16, 2005
Availability: Usually ships in 1-2 business days
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| Customer Reviews: Read 23 more reviews...
 This Is Bad.... May 10, 2008
1 out of 1 found this review helpful
The only thing worse than some self-conscious dorks are self-conscious dorks on film.... Genuine 100% engineered coolness. Groovy.... I'll quote my good friend Alejandro, "AWKWARD~!"
The DVD won't have sound if your DVD player cannot decode MPG sound.... Funny (silent Ha Ha) encoding choice....
What's so funny about 'Funny Ha Ha'? December 17, 2007
1 out of 2 found this review helpful
Andrew Bujalski has been compared to John Cassavetes, Maurice Pialat and Mike Leigh, perhaps because he uses a hand-held 16mm camera and mono sound to establish an unpolished, lo-fi quality in his films. Funny Ha Ha is representative of the recent "mumblecore movement" in indie film, characterized by production on a shoestring budget, a focus on personal relationships between twenty-somethings, improvised scripts, and non-professional actors. Bujalski's 2002 film (released theatrically in 2005) is not so much funny ha ha as an insightful portrayal of the empty, awkward lifestyle of a semi-lost generation transitioning from college life into adulthood. Kate Dollenmayer (Waking Life; Mutual Appreciation) plays Marnie, an aimless 24-year-old recent college grad who quits her temp job, while awkwardly pursuing her romantic interest in a former college friend, Alex (Christian Rudder). In one of my favorite scenes, in her attempt to become more of an adult, Marnie makes a to-do list (with little check boxes) reminding her to "go outside more," "learn to play chess," "make friends with Jackie (her research boss)," and "start a fitness regime." This is a smart film (along the lines of an improvised, inarticulate, and stammered Woody Allen film) that ends abruptly in the middle of a meaningless conversation. Dollenmayer brings an endearing performance to the role of Marnie, and I can't wait to see her in another film.
G. Merritt
Less Is More September 24, 2007
1 out of 1 found this review helpful
I don't have much to add to the precise, appreciative reviews posted here. This is indeed a film that draws its audience in mysteriously in spite of the fact that little happens and that the characters (one really thinks of them more as people) rarely are able to express a complete thought in a complete sentence.
The pleasure is voyeuristic. The viewer feels as if she is watching real life over the shoulder of the camera. The low budget "tech package" (as one reviewer called it) adds to the effect, as do even Marnie's sad shapeless t-shirts. The mother in me wanted to order her up some new clothes. If only she'd spend a little time at the make-up counter at NM, she could clearly snare Alex (not that he's worth the trouble, esp. now that he's married to Liz!). I think she should cultivate that friendship with Jackie the chic librarian, who knows how to put an outfit together and will be able to set her up with the cute barristo.
Well, you get the point: a seductive movie that keeps it real.
 It's OK, nothing more.... September 22, 2007
2 out of 4 found this review helpful
A lot of trendy critics are praising this film like it's the future of cinema (the press have dubbed films like this "the mumblecore movement"). While this film is not a complete disaster, it is not earth shattering. In critics' cirlces, there has been comparisons to Cassavettes, Truffault, and the French New Wave! These are incredibly misplaced and utterly ridiculous. Ironically, having read a couple of interviews with the director of this film, he might agree that the press are overdoing it. This is just a film about 20 somethings sitting around, talking, working, sleeping, eating, etc., etc.. The film is at best OK. It starts out decently, has a nice cinema verite feel to it, but as it progresses, it becomes tedious and tired, as nothing really interesting or artistic ever happens. Many have done the cinema verite route before (Fassbinder's Why Does Herr R. Run Amok? is a good example, along with some of Cassavettes's work), but just because the film is done in a realistic manner doesn't make the film a work of genius. I think critics are so desperate at times to find a new "movement" that they elevate mediocre films like this to gold status. Some might say that the point of the film was to show these people as they really are, but I was really bored by this. Some will say "you just didn't get it". Well, yes, I did, and it's not a good film at all. Kate Dollenmayer is a pretty engaging actress, and some of the supporting players are good. Technically, the film is average for an indie film, but the sound is horrible in some places. When Kevin Smith shot Clerks (a much better film than this one), the sound was rough at times but it was consistent. Sometimes the sound here is blaring, other times you can't understand one word. Aside from the technical problems, the film isn't particularly good, and it is not a masterpiece.
 FHH March 19, 2007
1 out of 1 found this review helpful
Andrew Bujalski's quietly impressive "Funny Ha Ha" uses the uncertain future of a smart but shy, post-graduate Boston woman as the launching pad for a beautifully observant and wholly unpretentious film with roots more in Cassavetes than Sundance-style showbiz. Made under the sway of the DIY (Do It Yourself) art movement, pic is a deliberate throwback to a much earlier American indie period, when filmmakers shot on 16mm, recorded in mono and didn't bother with a production company moniker.
"Funny Ha Ha" serves as a memorable debut for first-time thesp Kate Dollenmayer, whose Marnie becomes unselfconsciously emblematic of an entire generation of over-educated, under-employed American youth.
Marnie is first seen drunk at a tattoo parlor, but she's hardly some "bad girl"; rather, she seems to take each step through life gingerly, not quite sure where to walk next. Randomness seems to rule her existence: She runs into friends Dave and Rachel (Myles Paige, Jennifer L. Schaper) and tags along with them to dinner, where she admits to Rachel that she has a crush on Alex (Christian Rudder) but instinctively -- and, it eventually turns out, correctly -- senses that it will go nowhere.
Film introduces characters and situations, and then allows them to percolate naturally to the surface. At her new temp office job, Marnie is seated alongside nice but ultra-nebbishy Mitchell (Bujalski), whose awkward way of showing interest in her doesn't emerge until his desperation move on her during her last day on the job.
The subsequent dates between Marnie and Mitchell surely rank among the most painfully awkward and real encounters between the sexes in recent movies, culminating in the sort of thoughtless and spontaneous behavior that goes on all the time in real life, but almost never on screen.
Bujalski's improv approach is gracefully married with a style that is not overly-dramatic, and therefore seems just a hair short of pure documentary. Even unexpected encounters that other directors may have exploited for intense dramatic effect, such as a drunk Dave suddenly kissing Marnie in a car, play out and then fade away with the natural pulse of everyday life.
Just as underplayed are myriad character details, such as Marnie's evident interest in religion, that are gently observed but never underlined.
The non-pro cast appears inspired from the first frame, none more so than Dollenmayer, who invests Marnie with a genuine expression of innocence concealing a certain adult wisdom that keeps her out of serious trouble. Dollenmayer is uncommonly attuned to Marnie's moment-by-moment responses --and knack for confused and confusing conversations, the film's constant source of wit.
Tech package couldn't be less slick, and this becomes the movie's true badge of honor.
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