Margaret Cho - Revolution
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Filmed live at the Wiltern Theatre in Los Angeles, REVOLUTION is comedian Margaret Cho's triumphant return to the screen with the same unbridled, no holds-barred humor that infused her previous two concert films. In REVOLUTION, Margaret tackles the axis of evil, her travels through Thailand's red light district, the explosion of child birth, bartering sex for household chores, revolutionizing one's self-esteem, the joy of bodily functions, her loser ex-boyfriend, and of course, her now world-famous mother. Known as much for her social activism as she is for her raunchy humor, Margaret is a one-of-a-kind phenomenon who once again brings her distinctive and empowering personal voice to her devoted and adoring fans. DVD extras include: Bruce Daniels (opening act), Behind-the-scenes, Commentary from Margaret Cho and Bruce Daniels, Clip from "Behind the Revolution" and "Cho Daniels Report", trailers
Margaret Cho does not suffer well the by-now-clichéd expression, "Don't go there." As Cho remarks near the end of her characteristically passionate one-woman show, "I live there. I bought a house there." "There" for Margaret Cho is graphic descriptions of sexual acts, gay and straight, and bodily functions, impersonating a Bangkok sex-show barker, and other matters addressed in her singular frank and explicit style. Two hysterical rants that can be printed here involve being served an Asian Chicken Salad and all the reasons she will never be cast in a period film. Cho Revolution is more fitfully paced than her previous concert films, but she saves the best, and her most righteous anger, for last, when she addresses negative body image, racism, and homophobia. Here, she drops the attitude and gets real. She may be preaching to the converted (a Cho audience is nothing but idolatry), but it is a powerful sermon. Viva Cho! --Donald Liebenson
- Bruce Daniels (opening act)
- Behind the scenes
- Clip from "Behind the Revolution" and "Cho/Daniels Report"
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Something, however, has gone wrong. This concert was so far below her usual standard that it seems like the material is all rejects from previous concerts. There is no flow to the show and everything plays as though it had been written the night before. Instead of having been worked out for months on the road. I'm shocked that this act was considered good enough to film. It needed LOTS of work.
Much of the show is painfully unfunny, sometimes even jaw-droppingly crude. And Maragaret's best character (her mother) rarely appears and when she does she is annoying and serves no purpose.
Avoid this one and stick to the first 2. You can't go wrong. And here's hoping the next one is better.
Don't marry a white man !
It's kind of making me feel like she started to run out of gag and trying to do away with something to fill the show.
It's sucks. What happened to her? When did she become a bad black female comedian? When did she forget to tell jokes?
American Girl was more interesting than this.
C L H
Margaret is practically unrecognizable here. The Korean-American stand-up comedienne is no longer chubby, and it's kind of off-putting that she never mentions this. Still, this shows that she goes her own ways. Once you get over the surprise, you can really take in her performance.
My goodness, Margaret has really grown as a comic. In Revolution, she doesn't stop with just delivering the jokes - she performs them to make sure we get the message. Her delivery is spot-on. The way she uses her expressions, her gestures and body language makes you laugh at even the weakest jokes, as well as leave you breathless at the best ones. She sells every moment for all its worth. She already is a master of comic timing, so her acting performance clinches the deal. This is a brilliant performance. Just the use of her voice is hilarity upon itself.
Yes, her voice. It takes a lot of getting used to how she talks in this show. She has this very Valley Girl way of speaking which may put a lot of people off. I, personally, see it as just a way to make herself even funnier. Margaret seems to be making fun of herself, even, which takes guts.
Then we have the material itself. Revolution is totally off the wall. Among other things, Margaret talks about ex-president Bush, the Dixie Chicks, dead relationships, Kim Jong Il, children, racism and Asian stereotypes in movies (that is one hilarious routine). There is a lot of integrity in her routine as usual, and she often makes you laugh and cry in remarkable succession, especially when dealing with her family.
That is basically the core of Revolution; Margaret making fun of herself. Not in a mocking way, but by exposing the hilarity of her world. She also bravely dares to lead the audience on with touching stories of her life before hitting us in the face with a laugh that springs from that very sincerity.
Some reviews here dismiss Margaret for the so-called poop joke, which is in fact an account of an extremely humiliating event in her life that has a direct tie-in with what she's talking about (namely, warped body image and eating disorders, both of which she suffered from). It takes balls to not only come out with that but present it in such a form that we all laugh our heads off with her.
Apart from the off-putting Valley Girl voice, the only thing about Revolution I can minus is Bruce Daniels. Far be it of me to suggest who Margaret works with, but his opening act really wasn't that interesting, plus his gay jokes were way too stereotypical. Not that Margaret's aren't, but hers are far more original and out there. The hall is also rather small and the camerawork isn't that stellar, but the excellent audience make up for that.
Even with all the raunchy, out-there material that Margaret is so famous for, the reason it all works is because at the heart of it, there is a lot of love. Margaret manages to tie the show into a very inspiring and hopeful conclusion, making this show not only hilarious but also uplifting spiritually. Maybe not quite the level of epiphany Margaret weaved in ITOTIW, but what is?
This is one raucous romp from one of the best stand-up comedians around. Like her or not, she gets a reaction. Usually that of howling laughter, and nowhere does she pull that off easier than here.