[VIDEO] ‘Can We Take a Joke?’ Official Trailer HD, Featuring Adam Carolla, Lisa Lampanelli, Gilbert Gottfried, Penn JillettePosted: June 7, 2016
In the age of social media, nearly every day brings a new eruption of outrage. While people have always found something to be offended by, their ability to organize a groundswell of opposition to—and public censure of—their offender has never been more powerful. Today we’re all one clumsy joke away from public ruin. Can We Take A Joke? offers a thought-provoking and wry exploration of outrage culture through the lens of stand-up comedy, with notables like Gilbert Gottfried, Penn Jillette, Lisa Lampanelli, and Adam Carolla detailing its stifling impact on comedy and the exchange of ideas. What will future will be like if we can’t learn how to take a joke?
Greg Gutfeld writes: I never get around to seeing movies because I rarely get around to doing anything. This is an important point–as a man with no hobbies and a knack for leaving things unfinished–it’s a big deal for me to finally catch Penn & Teller‘s documentary, Tim’s Vermeer.
It’s an action film in which the only action is painting. And that action beats most other action films, as it’s actually designed to prove a point: to set out on an absurd experiment (in terms of workload) and see it to its ridiculous but satisfying completion. The movie is about a job.
“Jenison embarks on a decade-long experiment in which he tries to paint a Vermeer, using theories he believed Vermeer might have employed. Over these years, he builds an exact set replica of one of Vermeer’s more complicated paintings…”
But it is also really about Penn Jillette‘s old friend, Tim Jenison, an inventor out of Texas who’s congenially obsessed with solving one beguiling question: how did the guy who painted “Girl with a Pearl Earring” paint “Girl with a Pearl Earring?”
Johannes Vermeer was a 17th century Dutch artist who painted works of art so realistically that they’re about as close as you can get to photographs without demanding a nose-picking brat to “say cheese.”
Some in the art world believe Vermeer achieved his mesmerizing work with technology available at the time–a device called a camera obscura–and a mix of lenses and mirrors. In a sense he was photographing with paint.