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The 40 Year-Old Virgin: A Retrospective



January 17, 2005: Production begins on Judd Apatow’s directorial debut The 40 Year-Old Virgin.

February 14, 2005: Youtube launches.

July, 2005: Myspace is purchased by News Corporation for $580million. Within the year the site will hit its peak with over 75million subscribers.

August 19, 2005: The 40 Year-Old Virgin is released in North America. It opens at No. 1 grossing over $21 million in its first weekend. It stayed at No. 1 the following weekend, grossing an additional $16 million. The film received near unanimous critical acclaim, resurrecting the thought-dead R-rated comedy and skyrocketing the careers of star Steve Carrell and filmmaker Judd Apatow.

July 15, 2006: Twitter is launched.

September 26, 2006: Facebook is made available to all persons over the age of 13.

The 40 Year-Old Virgin is now a 12 year-old film, known and beloved by almost anyone who encounters it. We root for Andy from minute 1 as he finds love and friendship on his way to losing his virginity. In this social media/ PC comedy era, a film with an almost entirely white cast full of very raunchy, very NON-PC humor, still delights and charms with it’s camaraderie and kind love story, all building to an ending that literally sends you off singing and dancing.

The film never plays it safe. It’s opening gag is a middle aged man walking around with a troublesome morning erection. The scene immediately following has our lead character Andy conversing with a co-worker who has recently been to Tijuana, Mexico where he watched a woman have sex with a horse. “You know how I know you’re gay?” Paul Rudd asks (future mega-star) Seth Rogen over a friendly game of Mortal Kombat. “You have a rainbow bumper-sticker that says I love it when I have balls in my face.” Every scene of 40 Year-Old Virgin is full of quotable 1-liners (largely improvised on the spot) and memorable set pieces such as the drunken drive home which crescendos with Leslie Mann (Apatow’s wife) wrecking her car and vomiting on Steve Carrel right before offering to have sex with him.

Watching the film today, you think to yourself, “How did this ever get made?!” With a mostly unknown cast, a “virgin” director and a script so full of racey and risqué material, it’s hard to believe the film was such a big hit – a game changing classic still beloved today. How? How did this film make it to the screens? Some might argue it’s the film’s heart. For every boner and racial slur, there’s a kind caring sentiment. “You know, for so long I thought there was something wrong with me because it had never happened, but I realize now it was just because I was waiting for you,” Carrel laments after crashing through two-sides of a billboard on his bike. Some argue it’s the simple, relatable premise. Who doesn’t wanna lose their virginity?! A good argument is the breakthrough style of the film. What was essentially a typical rom-com with a sitcom premise, the film was heavily improvised with a loose narrative form that also took the time to fully flesh out its characters in believable and not always pretty ways.


All of these are valid reasons, but consider this: The 40 Year-Old Virgin was the last major studio comedy before the boom of social media. This film was a beacon in the last stretch of the TV and print era of marketing and promotion. If you wanted to talk about this film with your friends you either had to do it in person or through some kind of personal blog. You didn’t have a cellphone that you could log onto Twitter with during the end credits to sum up your immediate reaction in 140 characters or less. There was no Facebook post to make where your friends could click like to validate your reaction and experience. No, this film was blessed with being in that sweet-spot – the last hurrah of personal/private interpretation.

The film itself being made before the technological boom helped it as well. Phones are almost never used in the film. For God’s sake, Andy meets his love interest in the film as she buys a VCR! The drunk driving scene with Leslie Mann would be solved today with an Uber. Andy and his friends actually interact with each other. They go out into the real world to search for love. Even Andy’s love interest Trish – who makes a living off of eBay – still has a physical store for people to come through and make their purchases. “Life isn’t about sex.” Andy’s co-worker Mooj tells him. “It’s about love. It’s about connection!” The line resinates for our lead, but it also speaks to the entire message and desire of the film itself: true connection with another person.

12 years later, and the 40 Year-Old Virgin is still a beautiful and hilarious experience. A film released at a time much freer of judgement. A film made at a time where you had to interact with the people you encounter. The 40 Year-Old Virgin is not self conscious, not so self aware like the films of today. The paranoia of being in the public eye 24/7 with cellphones and social media is not present, therefore the characters are aloud to make mistakes. The film is a comedy of errors. Errors made in a search for connection to the people in your life. Couple all of that with the talent in front of and behind the camera, and you’ve got a film of low risk for the studio making great returns for more than a decade after its release. A classic. A game changer. And all of that from a typical rom-com with a sitcom premise. Today, everyone is a critic with a voice that can reach millions. The 40 Year-Old Virgin begs to ask, were films better when they were less conscious of judgement?

Written by: Joe Black

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Joy Ride Is An Extremely Raunchy And Hilarious Comedy



Joy Ride is an extremely raunchy and hilarious comedy that takes the mantle of ensemble risky
comedies that at times, leave your mouth on the floor. Joy Ride focuses on two best friends
Audrey and Lolo (Ashley Sullivan and Sherry Cola) end up getting roped up into a trip to Asia,
they end up on gals pal cross-continent trek to find Audrey’s long lost birth mother so she
doesn’t lose a huge business deal.

The chemistry in this movie is superb. Every character has their moment to shine and there’s
rarely a scene where you don’t get a belly laugh. I was shocked at how crazy and bold this
movie got, continually pushing the line to get a laugh. The movie does a good job of getting to
the point and getting to the scenes that really make you chuckle. There are some editing choices where the story flies by some stuff, and it feels a little incomplete, but never at the expense of really enjoying being around for the journey.

I thought that this was a sleeper for this year and certainly a movie worth watching with your
friends some weekend. It’s great to throw on if you want a laugh and really just enjoy some
great actors riffing off each other. The focus on culture was a nice touch and really elevated the movie to another level. While I would say if you’re easily offended, this movie is not for you – if you’re looking for a no holds barred comedy, Joy Ride is a trip worth taking.

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Who Doesn’t Want To Wear The Ninja Suit Of Snake-Eyes Or Dress Like The Mandalorian?



Hasbro has had their pulse app out for a while now. It allows for access to items to buy, preorder, and a look into future projects and releases. It also allows for a very cool thing most nerds (a group of which I am a proud card-carrying member) have always wanted, the ability to make yourself into an action figure. I’ve contemplated making one for a time but, I finally got my chance to get my hands on one at Comic-Con this year. Now, of course, I had to wait in line as it was a pretty sought-after item. Who doesn’t want to have themselves wear the ninja suit of Snake-Eyes or dressed like a Mandalorian? I was approached by one of the booth staff as I was showing my nephew all the cool ways we could get him his own MIles Morales action figure with his face (as he’s a massive fan) and invited to take a seat and scan our faces into the Hasbro Pulse app with the help of their awesome team and make this dream a reality. My wife was with us, so of course she got in on the fun too. We scanned our faces in and it was very simple and quick. Then we all selected our figures to add our heads to. We all chose Power Rangers(Me as the Black Ranger, my wife chose the pink ranger and the nephew got the red ranger). Then we were told that we needed to wait about 4-6 weeks and we’d have our custom action figure team in our hands. This was a major part of our Comic-Con adventure and definitely, a memory my wife and nephew won’t forget (as it was both of their first Con ever). Thank you to Hasbro for being so generous(also getting me brownie points that home) and I highly suggest checking out Hasbro Pulse and all the cool stuff it has to offer.

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The Last Voyage of the Demeter: Double-knock on wood!  



Adapted and written largely from the Captain’s Log chapter of Bram Stoker’s magnum opus Dracula, The Last Voyage of the Demeter tells the story of Dracula’s journey by ship from Carpathia to London, and what happened to her crew in the interim.

So here we are in Bulgaria, middle of 1897, and Captain Eliot (Liam Cunningham) of the Russian schooner Demeter is here to take on some strange cargo from some unknown client and transport it to Carfax Abbey in London. In need of some extra hands, the Captain sends out his capable Second Wojchek (David Dastmalchian) to scout for some, and initially the roving black doctor and aspiring philosopher Clemens (Corey Hawkins) is passed over in favor of more work-roughened men. The adorable cabin boy of the Demeter, Toby (Woody Norman), narrowly misses being crushed by the mysterious dragon-marked crates being loaded onto the ship, saved by Clemens himself and switched out with the superstitious sailors running from the Demeter like they had been poisoned by the sign of Dracul. And now, armed with some nine or so crewmen, Doc Clemens, and Captain Eliot himself, the twenty-four strange what looks like coffins adorned with dragon signs brought mostly safely aboard, the Demeter can make for open water and the Hell that awaits them there.

The duty of showing Clemens around the ship falls to a cheerful Toby, who proudly shows him the living areas, the Captain’s quarters, the very-large cargo hold, the galley and kitchen where the overly-devout Joseph (Jon Jon Briones) cooks the crews meals, the various above decks, even the sails, and the rigging are all at least touched on, and the livestock pens that Toby himself is in charge of, including the handsome good-boy doggy Huckleberry, or just Huck. We the audience get a very clear feeling of what it’s like to actually be aboard the Demeter, just how large she really is, and what living on a ship for months at sea is really like, the reality and practicality and the dangers of it.

Everyone more or less settles in for a hopefully uneventful voyage, taking mess around the common table and exchanging ideas or aspirations for when they arrive in London early thanks to the fair winds, and receive a handsome bonus for their troubles. But that involves being alive and making it to London to spend said bonus and pay, and the coffin crates spilling dark soil from the motherland and disgorging all sorts of other nasty secrets, have some serious plans to the contrary.

First, it’s the livestock, innocent and shrieking in their locked pens as a monster takes great furious bites out of their necks, and of course, the creature just straight up ruins poor doggy Huck. Then there’s the fully grown girl that gets dislodged from an open coffin-crate, covered in bite scars and as pale as death, she eventually starts interacting and talking after several blood transfusions from Doc Clemens, Toby learns her name is Anna (Aisling Franciosi). And then, as the weather turns foul and the winds begin to be a serious problem, the attacks turn toward the remaining humans onboard the Demeter.

Most people these days are familiar with Dracula, that gorgeous cunning vampire Elder who can supposedly transform into a bat or a wolf, seducing women to voluntarily offer up their veins like an unholy sacrament, a being at once beautiful and powerful, but also horrific and murderous if given half a heartbeat to smell your blood. This is not Dracula.

Instead, the creature that hunts the humans occupying the Demeter is an absolute monster, not a single human feature left to it, barely even recognizable as humanoid-shaped, instead boasting not just full-length bat wings but an entire exo-skin of bat membranes that can be used for feeding, a mouth full of needle-like teeth akin to a predator of the deepest darkest parts of the ocean, those yellowed Nosferatu eyes that will not tolerate light in any way, and of course giant pointy bat-ears. This is a thing, a grotesque straight from the depths of Hell, and no amount of glamor magic can make this Dracula (Javier Botet) seem like anything other than what he, is – a parasitic demon who only wants your blood. There is no reasoning with it, no trapping it, not even really any talking to it (kinda hard to talk when your throat has been ripped out), and, like the much more frightening Dracula stories of old, no amount of pure faith behind a symbol does anything other than give false hope.

Coming face to face with an actual abomination does different things to different people. The formerly delightfully foul-mouthed Abrams (Chris Walley) dissolves into a blubbering mess; poor Larsen (Martin Furulund) didn’t even get to see his own death coming; and it turns out Olgaren (Stefan Kapicic) wants to live so badly, he’ll suffer becoming a blank-eyed Renfield if that’s what it takes. All of Cook Joseph’s purported pure faith didn’t stop him from trying to take the coward’s way out and didn’t save him anyway when the sound of unnatural bat wings descended on him. I find that kind of irony delicious. Dear Anna, resigned to her fate to be eternal food for the horror that terrorized her village, nevertheless wants to try and save whoever is left of the Demeter with her own sacrifice, and there aren’t many. Wojchek of course wants to kill Dracula, but for all his logic and solid practical nature, has no experience whatsoever with this sort of thing, and sure doesn’t want to sacrifice the Demeter, the beloved ship he called home that was promised to him by Captain Eliot himself, in order to destroy that demon. Even poor sweet Toby isn’t safe from the creature’s clutches, and what happens to the cabin boy of the Demeter is what finally sends Captain Eliot over the blooming edge. And who could blame him? For this sort of thing to happen during the last voyage of such a proud, solid ship as the Demeter, is some serious bullsh*t.

To leave such a film open for a potential sequel, especially when called the last voyage of something, was a pretty hefty ask, and somehow the filmmakers managed it. I personally think a different version of Van Helsing, the infamous vampire hunter, teaming up with a certain black doctor who nurses a serious grudge against Dracula, could be a kickass sequel. Until then, experience the doomed final journey of the Demeter and her poor crew in all it’s bloodstained glory, in theaters now!

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