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![]() ![]() Actually, Daryl and Freddy make a funnier odd couple before they switch identities the irrepressible Griffin is at his best getting jiggy with the Hare Krishna dancers on a Manhattan street corner, while Jones plays a blithe, unflappable straight man in the Buster Keaton mold. Several decent actors disappear into the mediocrity, almost without a trace: Shawn Elliott plays a Mexican trafficker with a gross false eyeball avuncular Edward Herrmann plays Daryl's patrician boss.Įven the interplay between Jones and Griffin, which ought to be the film's centerpiece, is disappointingly mild. There are extended and witless cute-animal gags involving a Chihuahua Freddy is carrying around in a leather backpack. DOUBLETAKE MOVIE FULLAnd his direction is so undisciplined it makes a film that runs fewer than 90 minutes feel like it's abysmally long and full of dead patches. But his script for "Double Take" is no better than a lackadaisical retread of the "Midnight Run" formula (even if it's actually a comic remake of a 1957 Rod Steiger drama called "Across the Bridge"). Gallo has a minor cult reputation in Hollywood, mostly because of his screenplay for the 1988 action comedy "Midnight Run," which paired Robert De Niro and Charles Grodin as bounty hunter and fugitive. But was Freddy also framed, and is he actually a superpowered double-undercover government agent on a psychiatric discharge? Finally, is there a cash prize for figuring all this out? Because if there isn't, nobody's going to bother. Is McCready (Gary Grubbs), the growly CIA agent who has vowed to protect Daryl, really the pawn of a Mexican drug lord? Are the two FBI agents (Daniel Roebuck and Sterling Macer) chasing Daryl really hit men? Maybe posing as phat Freddy wasn't such a hot idea, since the dude with the Albert Einstein-meets-Al Sharpton 'do is wanted in Mexico for murdering a state governor. When the nonsensical plot full of switchbacks, shootouts and high-speed escapes skids to a halt so Daryl and Freddy can stage an impromptu dance contest at a deserted Texas gas station, or watch a country-western performance at an emu ranch, "Double Take" seems most in touch with its essential spirit of good-natured pointlessness.īut once he's got Daryl playing homeboy in Adidas sweats and Kangol lid, and Freddy playing Harvard buppie in an Italian suit, writer-director George Gallo tries to dazzle us with various plot switcheroos. The pairing has its moments - I imagine the producers were thinking of Dean Martin and Jerry Lewis - but you get the feeling Griffin and Jones would have been happier just hanging out and shooting the shit, without these cardboard characters along. If Jones is the smooth, handsome type with a clueless streak, Griffin (star of the UPN sitcom "Malcolm & Eddie") is an irritating little waterbug who won't shut up or get out of your face. Along the way, he switches identities with Freddy Tiffany (Eddie Griffin), a seemingly hapless pimp-daddy thug who turns up everywhere Daryl goes. Orlando Jones, the semi-suave 7-Up spokesguy who had the misfortune of costarring in "The Replacements," gets his first leading-man role here as Daryl Chase, a New York investment banker who sheds his identity and heads for the Mexican border after being framed for killing two cops. Given the talent involved, however, one might reasonably have hoped for more. It's never outright offensive or coldhearted in the manner of so much Hollywood comedy, and if you doze or play your GameBoy for an hour or so in the middle of the movie, you might find it an agreeable time-waster. Such a film is "Double Take," a hyperactive yet rambling road comedy that takes appealing performances by two hot young African-American comics and pretty much squanders them on nothingness. You get the feeling that the people who made it are talented and fun to be around, that the atmosphere on the set was freewheeling and often hilarious and that, on at least one occasion, someone on the crew was made to laugh so hard that Long Island iced tea came out her nose. ![]() Some movies have a hazy aura of high spirits and good cheer that has almost nothing to do with what we can see on the screen. ![]() ![]() Something that was great at that point was that we could fill it out with some Manchester songs, some of my songs, and then any combination of stuff that wasn't on the album itself we could add to the set. We were headlining the tour, so we were doing closer to 60 or 75 minutes a night. The first round of touring we did for Bad Books in '10, we kind of had to fill out our set because the record was only 35 minutes long. ![]() They're a band that we're all fans of what they do. I really stand by both albums, and I especially feel like this one took a leap in terms of over all quality from the first one. Basically, on both records, we took about a three month break so we could go take care of our day jobs, but we came back about three months later on each album and addressed little issues we had, finished up a couple of other songs, and that's how the records have been made. There's not a whole lot of time to sit there and tease out Pet Sounds or something - we can't take a year and a half to make these records. We basically do a song and a half a day, so what you're hearing on the record is pretty much like the immediate response by the players to what the song is. So, most of the instrumental tracks are stuff that's being created in the moment, like as people are hearing the song for the first time. Typically, what happens is either I play a song I've written or Andy plays a song he's written, we cut away a little bit of structural stuff, and then basically start jumping into recording it right away. Since Bad Books records are made on kind of a limited time frame - we usually have like six to eight days because we both tour a lot and make our other records and stuff. The results were something we all really liked and we thought it was something that both could stand toe-to-toe with anything in either of our catalogs, but also separately as their own animal, and not as a collection of cast off songs. I came with about four songs I had structured, Andy had some stuff he'd been working on, and we kind of built them out into an album. So, around January of '10, we actually took the next step towards actualizing that, and we came down to Atlanta. All that time, we were always talking about how it would be nice to actually write music together someday instead of just supplementing each other's primary projects. ![]() We went to Europe together, and I think overall, we probably played over one hundred shows with some combination of Kevin Devine and Manchester Orchestra. They were coming out and playing instruments during my set. By the middle of that trip, I was playing guitar on the Manchester Orchestra set. We did a seven-week tour, and we clicked kind of early and deeply. We were on a tour at that time with a band called Brand New, and Manchester was the first band, Kevin Devine and The God Damn Band were second, and Brand New was the headlining band. I think we're probably closer in a lot more ways than our day jobs would suggest. So, that was what we were going for with it, and that song became the obvious first single for us. A lot of the guitar sounds on that Strokes record kind of sound like cross-dressed keyboards, but they're just manipulated on guitar. When we actually did the recording, we came up with these harmonies that helped sweeten the song, and the guitar lead sounded like it either came out of a video game or kind of like that second Strokes record. this kind of weird pop music with kind of trashy drum machines. For the music, we wanted it to sound kind of like. He said something at some point about how the female character in the song is supposed to be this sort of neo-hippy - the kind of person who would marry a biker and name their kid Forest Whitaker. I think it just fell into Andy's head from the clear blue sky. I was on tour and Andy was home, and he sent me a voicemail with this super-catchy melody and this whistling kind of hook, and weird lyrics like, ".you had a baby with a biker and named him Forest Whitaker." That's kind of great, and it pops out for sure. We hadn't written a straight pop song for the record. And while we really liked this record and what we had on it so far, we kind of felt like that was the one color that was missing. From our prior record, we had a single called "You Wouldn't Have To Ask," and it was a pretty poppy song - an accessible, ear candy type of song. Usually the way we work is that either I write the basic structure of a song and we work it out from there, or Andy writes the basic structure and we do the same, and that one was an Andy song. ![]() KD: It was the last song we wrote on the record, and it's one of Andy's. ![]() |
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