If you are someone who likes action comedies, but hate the fact that it only has a few comedy shows (or too many).
Then you’ll love this blog. We’ve found 20+ great comedies that are on Hulu. We even ranked them in order from the best to the least best. Today’s blog showcases a list of movies that we have personally enjoyed.
Hustlers (2019)
The Hustlers is a slightly sweet cocktail of naked meat, vague feminism, and wholesome crime. And it’s packed with pop culture icons of the moment — there’s Cardi B, there’s Rizzo.
In particular, the film was written and directed by Rollin Scafaria (“Nosy,” “Finding Friends for the End of the World”) and looked back wistfully to 2007. Before the financial crisis disrupted entertainment, the men of Wall Street made a lot of money, and a good part of it was in the hands of strippers in New York.
“The whole country is a strip club. There are people throwing money, people are dancing,” Jennifer Lopez’s Ramona said in a pivotal moment on “Heath Ruzz, “an unexpected film about power and domination.
Inspired by New York Magazine’s 2015 article “The Hustlers at Scores,” the film, directed and written by Lorene Scafaria, explores a group of strippers who profusely turn away the club’s wealthy fans.
Nothing works unless the words are brought to life by the right actors. Constance Wu carries the emotional weight to tell this story and acts conscientiously.
However, it was Jennifer Lopez’s stunning performance as Ramona that set the trend. No, see. Wu, Lopez’s on-screen chemistry seems natural, and the bubbles they create aren’t real, which is almost disappointing.
Sadly, “Hustlers” itself doesn’t match its scale and boldness. Ramona is bold, daring, and temperamental, and her story is slight, tentative, and risk-averse.
You reunite with Ramona and discover a new way to earn money. Paul or V.I.P. Instead of working from the bedroom, she and Destiny visit the city’s bars with their colleagues Mercedes (Keke Farmer) and Annabelle (Lily Reinhart), searching for a rich man. Placed a strip club and credit card.
Not Another Teen Movie (2001)
Not Another Teen Movie is a loving parody of high school movies designed for viewers who see more movies than celebrity news. It is a running total.
This film is difficult to describe as it is both competent and flawed. Muddy with chaos in the first 10 minutes. The film sets up an avalanche of characters while providing sufficient crude symbolic representation (hate, because it includes toilet humor, which counts as tongue-in-cheek commentary, and j ‘questioned).
For the long-eyed audience, the entire 90 minutes. It’s also the only parody I’ve seen in the past 20 years that shows concrete affection for the character or goes into personal growth.
It’s a stupid bug and mistake, but thoughtful and exciting. Even after being calm, NATM oscillates between the two poles.
The film has enough heart to entirely rid itself of the potential groove occupied by the association and enough brains to elevate it higher. It’s funny.
Some viewers may find the result unappealing. Is it because we have to accept the inherent flaws and flaws of the star rating system? It means that an excellent horror movie is, after all, worth the same as a prestige drama, or an idiot is worth the same.
As a movie buff, this is a hypothesis that I always praise and respect, which is why Not Another Teen Movie is a 3-star movie. Yes, it has just been lit.
Late Roger Ebert is often not good enough to rate any film in its early stages. Because art is so subjective, there is a born resistance to mere criticism, and the labels used to compensate for it can be ambiguous.
A must-read for those looking for more than the raw lore of 20th-century cinema. Four of them received the highest honor under the “Star” model.
Never give the perfect space or agency to count as anything other than a simple yes or no vote (signaling his famous thumbs-up). But his muses and talents are diverse in print and require a more nuanced scale to give a final verdict. A movie has to mean it’s interesting or worth watching. It is a film that is lacking.
Office Space (1999)
The real-life cartoon King of Cubic Hall comes as an office space, Mike Judge’s first live-action film. Full of brilliant talent.
The technical performance is cleanly off-line. But the most pleasing effect is the inspired decision to juxtapose all the white-collar anxiety with the hardcore rapping.
You have to experience it to assess it. Before we even dive into the office space. It’s no surprise that much of the film takes place in an office, and with the story in hand, it never gets too far.
Some of the film’s thematic elements are cheesy. They’re there for comedic effect, while they might look cut on paper. The film’s execution is nearly flawless, with great performances, lovable characters, and in-jokes.
The various elements this film has to offer are simple and effective. But the second half of the film takes a short left that may be unfamiliar with the expected takeaways from the film.
Office Space’s third act feels almost silly on the diminished effectiveness of the film. Awkwardly, this final ending is necessary to end a particular arc and wrap up the movie’s message. I understand that there is still light at the end of the tunnel.
DeadPool
Appearing in the early ’90s as a snark-breathing anti-hero spin-off from The New Mutants, Deadpool is the alter ego of Wade Wilson, a former mercenary who develops special powers such as accelerated healing. Ryan Reynolds first played this character in 2009’s X-Men: Wolverine.
But like everything else in that movie, he was easily overlooked. – they fired insults in the first 5 minutes of the encounter as spandex Don Rickles.
Since I can’t do that, I agreed to bet on a heroine whose cutting-edge is effective and profane. Deadpool’s jokes are delivered with clever winks from Alec as he takes the time to figure out how to sell the tone of a joke rather than an actual mark.
But Reynolds has the perfect salesman. To the descendant of the lawyer who had sex with the old lawyer, terribly torn to love his fellow man. It’s a cutting-edge comedy, but it’s an avant-garde Marvel movie.
Escape From Alcatraz
The 1979 film “Escape from Alcatraz” is a thriller directed by Don Siegel (Invasion of Gur) and starring Clint Eastwood, telling the story of Maurice (Eastwood) trying to escape from a prison called Frank the Rock in 1962.
Dressed as a lifer and escaping from another prison, Maurice arrives at the prison, runs into the prison’s Arthur Dryson (Patrick McGoohan), and argues with a very loud inmate who wants to make him a little taller.
He is kind and will eventually befriend a group of convicts he plans and escapes with, including the Anglin brothers. It took a while to devise a plan, but it included crafts, a solitary vent, and a homemade raft.
Unsurprisingly, the film’s highlight is Siegel’s final sequence, reminiscent of the highly suspenseful, lengthy, and utterly silent jewel theft featured in Jean-Pierre Melville’s “Le Cercourt Rouge,” executed with visual and sonic precision.
It must have been influential. Escape from Alcatraz is a short film that quickly establishes character relationships. Then moves on to filming and directing a complete, tense escape sequence.
K.L. Studio Classics 4K restores and discs are enjoyable and satisfying. They are highly recommended.
The Other Guys
The Ron Burgundy saga knows what to expect from director Adam McKay, comedy superstar and co-creator of the Funny or Die website with Will Ferrell. McKay directed and co-wrote this silly, tasteless, and funny story about two New York City Police Department cops.
The mean badass, played by Mark Wahlberg, as punishment for a horrible mistake at work, is paired with a man with obnoxious glasses. The newcomer, a humiliated partner beta male, is played by Ferrell.
Other cops, including superstar duo Samuel L.L. Jackson and Dwayne Johnson, in cameo appearances, Ferrell and Wahlberg, are destined to become “The Other Guys” until they are caught in a severe financial scam.
Demolition Man
When I see a movie produced by Joel Silver, all the high-tech action purveyors of the Boom School (he’s the force behind the Lethal Weapon and Die Hard franchises), I appreciate it. A futuristic thriller, Demolition Man(R) is rapidly rolling off the silver assembly line (even to the pennies of the 21st century).
Of course, the movie pokes fun at 90s Puritan fashion, a new definition for people to shed bad habits or ideas. But there’s also Stallone, Hank’s personification of the worth of red flesh.
In this movie, he’s a successful comedian with his eyes set on a world that no longer values testosterone. Stallone has a subtle affinity with Sandra Bullock and is a future post-invasion product and robot-talking cop.
The Demolition Man is as much a piece of cheese as any B-rated sci-fi movie of the 50s, a touching literal satire of brain castration in the future. The most significant difference is that this film doesn’t reach its climax within 45 minutes of Smashing Mayhem.
Either way, Joel Silver’s action flick coming out in the fall is a little inconsistent, but even if the promise of out-and-out violence beckons people to the theater, it’s unlikely to be. A calmer scene, which pretends to be moody. I am satisfied.
Johnny English
A series of credit card adverts popular in Britain in the 1990s inspired this clever spy parody. They portrayed Atkinson as an accident agent, but he was not originally a soft Character.
A top British Secret Service agent dies in the line of duty, and the rest of the elite unit is at his funeral. When bombed, Johnny English of midshipman 007 becomes responsible for the country’s revival.
Pascal Sauvage is an obsessive French entrepreneur who plots to usurp the throne and turn the whole country into a land of exile. There, Johnny tries to stop him with the help of his faithful friend named Bow and the adorable mystic Lorna Campbell.
Johnny English (Atkinson) is a very confident but very incompetent spy. He’s also careless, clumsy, and unlucky. But somehow, lucky to have saved the day.
In this episode, he is retired and teaching at a boarding school in the picturesque English countryside. Watching him teach espionage to his male students is of some interest, and for a moment, he thinks he might be the bush moon of the Hogwarts spy kids.
We are trapped by this clumsy but self-righteous old spy and his loyal bully friend. The G12 World Summit is approaching, and the Prime Minister (Thompson) is desperate.
After mistakenly dispatching all the other English-speaking retired spies, she will be even more desperate. Like all spy movies, you could see him grabbing material.
The Q equivalent tries to give him safety warnings and a hybrid car, but his English is old school, and he doesn’t know how to protect himself from cyber spies or how he works. So it does not bring anything connected to the Internet. Both.
English also goes to greet his almost-forgotten friend Bow (Ben Miller) at a warehouse-like table. They drive a vintage Aston Martin, record a mixtape, and travel to France.
They had to go undercover as waiters, and for some reason, they assumed that meant speaking English with a French accent.
Looper
Flying between the years 2044 and 2074, Looper, a sci-fi thriller, pursues a murderer whose next final target is himself. Shortly, Joe (Joseph Gordon-Levitt) plays a “killer” tasked with killing and dealing with criminals who clash with mobs.
However, these victims come from 30 years in the future, where time travel exists but is illegal. However, in 2074, removing the body was much more complex, so the mob used it to send the victim back in time.
Joe’s job was mechanical: kill, eliminate, kill, eliminate. Loopers rank relatively low on the criminal totem (“upgrades” are a more elite group that can become mob followers). The worst thing a looper can do is break the loop.
Because it causes all kinds of problems. Every Looper knows that at some point, the crowd “closes the loop” or flips their future self and walks out.
Joe’s trouble begins when the older man (Bruce Willis) returns to kill him, but he immediately flees. Talking about Looper and its two lead performances can only be said for Gordon Levitt’s makeup.
The young actor’s face transforms by will into that of a young Bruce Willis, first scattered. They did not fully realize the fantasy.
However, Gordon Levitt’s rendition of Willis’ demeanor, demeanor, low, slightly chirpy voice is understandable once you get used to it for a while. Willis plays a supporting role here, but there are overarching emotional scenes where he shines (in many cases, very little dialogue).
The word “holistic” takes on a new meaning and is visited in a dining scene with young Joe. One of the most gripping sci-fi movies of the year, Looper is often a character flick about people facing significant life decisions on the business side of Blunderbuss.
But it’s also a thriller. These may all be crazy gimmicks, but Looper is executed with dignity.
A modest sci-fi story with a solid central performance and a gripping, conceptual premise. Probably the best sci-fi movie of 2012.
Assassination Nation
Set in the city of Salem, the film focuses on four best friends: Lily (Odesayan), Bex, Sara (Suki Waterhouse), and Em (Abra). While most of life consists of going to school, partying, hanging out, etc., Hackers are sharing the highly personal digital data of local racial puppet leaders with the entire town.
At first, things are entirely out of control. What started as a personal attack turned into a dump of information on half of Salem. Then, much like in the Crucible, the townspeople turn into a passionate, angry, and violent mob to track down the culprit of the data breach, ultimately targeting Lily and her crew.
However, I wonder if all the audible responses are for the right reasons. Encouraging revenge and encouraging violence were two different things. There was a moment in the middle of Assassination Nation where I wondered if I had crossed the line into glorifying violence.
It focuses on real-world problems. It’s one of the most compelling traits of Assassination Nation, and Levinson reflects that through his visuals.
Early in the film, there’s a moment when his camera squints at his lime. He gives the impression that he is about to see the queen bee rule over the school and try to achieve his ten thousand dreams.
You begin to realize that you are losing and being forced. Shiny looks are often the wrong recipe for disaster.
Levinson makes this point in particular and transforms glorified dreamlike visuals of teenagers (like girls walking down the halls of a school) into inherently darker and tighter images, allowing the viewer to be trapped. Through disturbing personal accounts of verbal and physical abuse.
The Heat
In “The Heat,” F.B.I. Detective Sarah Ashburn (Sandra Bullock) and Boston Police Detective Shannon Marins (Melissa McCarthy) compete for the first person to open a door. Marins has shown herself to be unhappy with the F.B.I.’s arrogant interference by outsiders in her case.
We also know that Ashburn has a hard time getting close to anyone. Ashburn and the Marines team up to take out Boston’s drug lords and more, it’s powerful, but it’s not a problem.
It’s good to see a movie that you have for yourself. Yes, it’s a detective film, and of course, there are opportunities to work.
But no one cares about the familiarity of the premise. I don’t think Paul Feig cared, either. The base of the Boston drug lord is just a framework to express the dynamics of the two main characters.
Their energy is always humorous, funny, often embarrassing, sometimes profound, sometimes profound. But while you can almost feel how tedious it is to spend time on it, Bullock and McCarthy make an incredible team.
The conversation never ends. The debate never stops. A lot can be forgiven when you see a funny character in a movie.
“The Heat” is violent and has scary moments and questionable police work. That’s part of the fun. Cagney and Lacey are different. Ultimately, teaming up makes for a roguelike with exhilarating fun.
Damsel
Damsel begins in the beautiful French desert of the American West. This desert is also the sometimes fascinating and terrifying arena where many traditional heroic tales are born.
A wise priest (Robert Foster) speaks to young priest Henry (David Zerner) and tells him that nothing but violence and atrocities await him at the frontier.
Not the Native Americans (“I think some are bad, some aren’t,” he says), but the companions of Henry Journey and the lands they foolishly tried to conquer.
Two handsome lovers, Samuel Alabaster (Robert Pattinson) and Penelope (Mia Wasiko), dance together in a barn as the surrounding crowd grows to applause and cheers. But as the priest warns, life in the West is not as comfortable as you might think.
Written and directed by the Zerner brothers (Nathan and David above), Girls is a wickedly funny, beautifully filmed epic aiming to establish the old romantic western image and happily subvert it. It’s a story with a bold U-turn, and I appreciate its absurdity.
Damsel’s real protagonist is Henry, played to modest and unassuming effect by David Zellner (another Zellner brother plays a bearded blacksmith he meets along the way).
With the teenage perspective shifting to Henry and Penelope, it’s hard to have much fun, as both aims to portray the realities of forays into the American West.
The Con Is On
If a movie hits boxes and sits on a studio shelf years later, it usually means one of two things: I don’t know. It’s a new fight of liars, much like kiss, kiss, bang, and most of it falls on the second side. It was off the radar the first time I heard it.
I discovered a few weeks ago that this is a limited release and is now available on Hulu. There are various scenes, such as Hallie ending with whispers from Jackie’s Chihuahua dog or a misguided attempt to steal Jackie’s $4 million wedding ring.
Whenever Stephen Fly appears on screen as Sydney, the deputy local area commander in Los Angeles. He seems interesting all around and doesn’t care too much. It serves mainly as an analogy for the public.
Things stabilize when the final scene, Irina approaches, and the plot should evolve into a confrontation. Going from something quite interesting to something mundane, I’ll have to conclude.
10 Things You Hate About You(1999)
10 Things I Hate About You follows Cameron (Levitt), a teenager who moves to a new school and soon falls in love with Bianca (Larissa Olenik), one of the most popular girls in school. Bianca doesn’t pay too much attention to him because her eyes are on Joey (Andrew Keegan).
Joey (Andrew Keegan) calls him a bitch and dominates the school, bullying Cameron at every opportunity with his friend Michael (David Clamholtz). But it doesn’t matter who Bianca wants to date. You can date Kate (Stiles) and Bianca.
Bianca is a school princess, loves her popularity, and wants it all. She begins to forget a bit, which means she chooses to be a better person in the face of the truth and is blind to what the people around her are doing.
She is looking for someone who doesn’t care much and cares. Even characters as minor as Joan of Arc (Gabriel Union) have a chance to shine.
Although she started as just best friends, it shows she has more drive (and venom) than she first revealed. But one thing that stands out among the 10 things I hate about you is your style.
Her performance as Kate is impeccable from top to bottom. We make it into a character, someone we want to talk to, someone we want to be by our side as a sister or a friend.
Cat is a beautiful character, but Julia isn’t too flashy, making her a very grounded and down-to-earth personality. With a teen romantic comedy film that mixes radical genres.
Julia manages to transform the protagonist into a very realistic character. Kate feels like a real girl. It is the highest praise for his performance.
The Proposal (2009)
When Margaret, an influential book publisher, faces forced repatriation to her native Canada.
The laid-back Gijeon executive announces that she is indeed engaged to Andrew, a helpless assistant who has stalked her for years.
He agrees to participate in the guessing game, but with certain conditions. To meet an eccentric family, an unfamiliar couple travels to Alaska. A girl from a city still in power finds herself embroiled in a comical situation of water shortages from side to side.
An impromptu wedding is planned, immigration officials follow, and Margaret and Andrew vow to stick to the inevitable plan despite the dire consequences.
Most moviegoers don’t worry too much about these issues. If they’re drinking popcorn and laughing or drinking soda and crying.
I won’t minimize their entertainment. But you are one of those readers who enjoy a good romantic comedy.
The Rocky Horror Show (1975)
The Rocky Horror experience in theaters is authentic for many reasons.
They strongly encouraged attendees to say the most suggestive things on screen, interact with the film itself, and have volunteers play characters on screen for an interactive experience.
MiRHPS sells prop bags at the theater and encourages attendees to dress up as movie characters. When stepping into a theater before a show, it’s not uncommon to see people in full underwear or shiny gold bathing suits.
They want to give viewers, new and old, the same experience as when people first started traveling to RHPS almost 50 years ago. Through their hard work and dedicated volunteers. They can continue the tradition of the Rocky Horror Photo Show experience.
The Burning Saddle (1974)
The railroad must pass through the town of Rockledge. How do they evict citizens and steal their land? Free the most brutal gang and appoint a new sheriff who lasts 24 hours.
But this is not the fundamental basis of brazing saddles. It’s just an excuse. When Mel Brooks’ crazy film begins. Which many call his best film. Logic gets lost in a blizzard full of gags, jokes, lines, Lazare, rants, discussions of good taste, or shameful attacks on all flavors.
Little as the new Enforcer, Gene Wilder as the quirky Waco Kid, Brooks as the missing politician, and Madeleine Kahn as Marlene Dietrich were nominated for Oscars.
When Blazing Saddles can’t contain themselves in the finale. It proves the Old wild West will never be the same!
Meet the Parents (2000)
One of the common themes of comedy is that humans go to great lengths to prove themselves to others. This tactic often involves adapting, doing your best, and just talking flattery.
When a young man in love tries to impress his girlfriend’s father, his comedy bet is quadrupled. “Meet the Parents” is the funniest comedy of the year, directed by Jay Roach and written by Jim Hartsfeld and John Berger.
Greg asks to be greeted in a scene that perfectly captures the prominent comedic elements of Meet the Parents. The young man decides to ride out the storm with an impromptu prayer.
But it becomes an awkward conversation and ends with the line to the song “Day by Day” from the rock musical “The Curse.”
After a disastrous weekend, Greg attempts to prove himself to his doting father due to Pam’s bullying and repeatedly berates himself.
The comedy also pokes fun at class struggle, suburban morality, and how we all unleash our anger on service professionals who push buttons at the wrong time. It is an exciting and joyful film.
Parasite (2019)
Director Bon Joon-ho’s masterpiece “Parasite” is a wicked and cruel satire on the difference between the rich and poor. The scene in the movie is when the poor Kim family becomes a new employee and infiltrates the life of the wealthy Park family.
Kim Ki-woo (Choi Woo-Shik) is the legal guardian of the Park family’s daughter, Da-Hae (Jung Ji-SEO), but he uses his position to scout her younger sister Ki-jong (Park So-damn). An art teacher for Da-Seong (Jung Hyeon-jun), the youngest member of the Bak family.
After that, Kim’s children assemble Parkes’ driver as a money changer to bring their father’s Kitek (Kang Ho-san) to work. In the end, the family kicked out the Bak family’s housekeeper Moon-Hwang (Lee Jeong-Eun), because she seemed seriously ill with a peach allergy, which paved the way for Bak’s mother. Kim, Jeong-suk (Hye-jin).
Everything seemed to be going well until the Park family didn’t know that the Kim family was involved, and Moon-gang hid her husband, Kwon Sae-hoon in the Park family’s basement.
Bong Joon-ho, the first Korean filmmaker to win a Palme d’Or at Cannes, has lowered the bar. But this time, human greed becomes a monster and secretly eats the concept of good and evil. Who is the parasite here?
The Kim family chose their family for their economic interests. Or is Park Il-ga, who exploited the Kim family, a servant of their will? The film analyzes the growing gap between rich and poor with startling wit, poignant topicality, and abject violence. It is an explosive cinema at all levels.
I Got Mail (1998)
They start with a lot of obstacles. Joe and Quinn Beach’s book editors Patricia Eden (Parker Posey) and Catherine and darling newspaper columnist Frank Nabarski (Greg Kinner) reunite.
Catherine inherited a group of store-bound friends from her mother, a romantic do. His father and grandfather used to choose younger wives, so they didn’t care about his 5-year-old aunt or 7-year-old brother-in-law. In the end, it was clear that Joe’s business was destined to destroy Katherine’s small business.
Email replaces the mailbox in this updated version, but the characters also have a 90s lifestyle and 90s-style friendships. Katherine’s co-workers are like family, and when she wakes up, she’s more than willing to discuss any bad luck that might have happened on her date before deciding the missing person has been arrested for murder.
Likewise, Joe also seeks the support of his father and colleague, Kevin (David Chappelle). Neither becomes a bitter aunt: Kevin suggests that the best reason to take a relationship “to the next level” is to give him a reason to end it.
Joe’s father remembered his ex-wife for her skating and dancing skills.
It’s not just that the cast, characters, and director are the same. There are other reasons to feel “a sense of deja vu.”
You Got Mail, the latest version of “The Shop Around the Corner” with James Stewart and Margaret Seravan, has since made musical stage appearances. If you need proof that Tom Hanks is the James Stewart of this generation, look no further.
Happiest Season (2020)
Hallmark, Lifetime, and Netflix’s recent Industrial Park define Christmas movie conservatism. It’s not meant to be political, but perhaps Republican patriarch Ted Caldwell’s (Victor Garber) lust for mayor plays a significant role in the new holiday rom-com Happy East Season.
The thing is, Christmas movies are designed to be cozy and familiar, like an old sweater. They can get away with being weird and silly if they don’t have sharp edges and nasty surprises.
And Happiest Season’s small goal of bringing some bizarre elements into heterosexual form sometimes seems counterintuitive.
Bookmark (2019)
Written by Susanna Fogel, Emily Halpern, Sarah Haskins, and Katie Silverman, the “Booksmart” setting is built on solid ideas and simple, rigorous theatrical mechanics. French. 2 stars). But the content is lacking, and the clear and straightforward premise is frustratingly oversimplified.
The protagonists’ predicament is emotionally authentic, but their journey is fantastic. His point of view is Manichean, as seen in dogmatic religious and political films.
The small world of “Booksmart” is divided into driven people (almost everyone) and sociopaths (one person). It’s a teenage show, and it’s not like High School Viper Tank.
So I don’t think many teenagers want to see it like this movie was carefully crafted to bring out “Ohh” and “Boo.” almost inexistent.
Big (1985)
Tired of his smallness, 12-year-old Josh Baskin wants to grow up in the bazaar’s machine stall. But wakes up the following day in the body of a grown man.
He is ashamed of what he has done and flees across the bridge to New York with his friend Billy, finds out about the fair, and wishes he was back to normal. He accidentally gets a job as a computer operator at the McMillan toy company.
Thanks to his insight, he is promoted overnight and catches the eye of an introverted female executive (Elizabeth Parkins). As their relationship develops, Josh begins to mature and adjust to his mature skin. , and gave me the courage to whisper, “It would have been nice if it was a kid.”
This film is wonderfully warm and full of humor. There aren’t many light films about people magically transplanted into other people’s bodies. You take a hit.
The prelude to the kiss is an exception. The other is big. Both represent severe and solid performances that, with this premise, make you believe in doing something clever and original and shatter the imagination. ‘ (1994), Tom Hanks is doing well here.
A loud scene as he spends the night alone in a grotesque New York motel and bursts into tears makes his situation incredibly believable. He imitates the mannerisms of a clumsy 12-year-old child.