Even if you missed the LA Film Fest, both of these clever little films are worth tracking down when they arrive in a theater near you.

For the avid film fan, the best part of living in Los Angeles isn’t the beach or the weather or the attractive people, though none of those hurt either. The reason to live here is the access to year-round movie events: early releases, revival screenings, special talks with filmmakers, and this month, the LA Film Fest. Those connected or wealthy enough to justify a full pass can choose from dozens of great independent projects (and this year, attend an early gala screening of Public Enemies, to the envy of us armchair amateurs), but thankfully the majority of the showings are also open for individual ticketing. Anyone willing to sort through the long list of choices is sure to find a few gems, providing the perfect counterbalance to the summer blockbuster season.

In addition to the joy of discovery, the festival environment is one of the best ways to see a small film. Similar to seeing the latest superhero or sci-fi movie at a midnight premiere, you’re surrounded by fellow fanatics, not just casual viewers out for the latest Wayans or Ferrell vehicle. Everyone in those seats had to seek out these shows, and go into the experience prepared to love the movies they’re seeing. Often actors, directors, or writers are present, so the audience is more willing to show appreciation for the film instead of grumpily holding back for the film to win them over. The energy goes a long way to make up for the lack of huge production budgets or amazing set pieces big Hollywood films depend on to draw you in.

This all works especially well for smart independent comedy. Both In the Loop and Humpday may not work for a general audience the same way a broad comedy like The Hangover, wholesome fun like Star Trek, or even unintentionally laughter-inducing blockbusters like Terminator or Transformers do at the local multiplex. But even if you missed the LA Film Fest, both of these clever little films are worth tracking down when they arrive in a theater near you. Each one earns its laughs honestly, and with an added depth that makes them more than just silly Friday night fun. They might be harder to find and harder to see with a great crowd, but they’ll both reward the effort.

[Special note: I saw these films based only on short descriptions and some favorable review snippets, and thoroughly enjoyed them both. I was tempted to link to trailers for further evidence of their entertainment value, but having seen the films, both trailers give away far too many great lines or story details. If these reviews are at all convincing and you can resist the temptation, spare yourself the spoilage and enjoy them with fresh eyes.]

……….

In the Loop

Imagine a satire about bureaucrats in British government, and two things probably come to mind: either a very dry — well, very British — comedy of errors, or something similar to The Office, where well-meaning buffoons get in the way of real progress with their amusing pitfalls. The first probably sounds a bit dull, and the second may be good comedy, but we’ve seen it before. Another possibility might be something zany and Python-esque, but they lampooned government enough in their own time. There’s no need for imitators.

In the Loop, based loosely on the BBC series The Thick of It, is none of those things. Writer/director Armando Iannucci is most like the sinister twin of Aaron Sorkin, delivering rapid-fire dialogue from an ensemble cast that takes focus to keep up with. Only this isn’t the sincere and inspiring patter of Ivy League charmers in the mold of The West Wing. This is a constant bickering between the angry, self-serving, ass-kissing, in-over-their-head, or just plain incompetent characters that make up government’s middle management. And soberingly, it’s probably a lot closer to what really goes on inside the walls of our respective capitols.

The film follows a group of British officials post-gaffe. One bumbling secretary of something-or-other makes an accidental anti-war comment that draws him into the machinations of his visiting American counterparts, some angling for war, others fighting it. Soon both camps are scrambling to take advantage in a flurry of mangled messages and backroom dealing. It devolves quickly in a way similar to the Coens’ recent Burn After Reading, in an infuriating display of political wrongheadedness. What makes In the Loop so much more fun than Burn, though, is its incredible pace and liveliness. There’s no slow build or absurdity here. It’s full speed ahead from the start. The first 20 minutes are so packed with laugh lines, in fact, you’ll have to force yourself to quiet down in order to hear the next joke.

The deep cast of brilliantly caustic caricatures makes sure every damning angle is covered as well. There’s the gloriously foul-mouthed British enforcer (Peter Capaldi) whose mastery of offensive nicknames is an art form. The vacant American senator (David Rasche) who floats from important meeting to important meeting, consolidating power with no regard for policy. Even the over-the-hill general, who thinks its all just a joke (James Gandolfini, who it’s great to see in a juicy role again). No ineffective stone is left unturned as you watch everything go wrong and war become inevitable. It’s a sad commentary on why nothing ever goes right in government, but luckily it’s downright hilarious every step over the ledge.

[In the Loop will be in at least some theaters July 24th. Seriously, see it if you can.]

……….

Humpday

On the opposite end of the comedy spectrum, far from a large ensemble rattling off witticisms, is the wonderful world of Mumblecore. Plenty of praise has already been heaped on the blossoming scene, mostly by true-blue film fans who love the immediacy of a small DIY production. Rightly so, too. There’s something refreshing about a new generation of young directors, writers, and actors making films that are obviously passion projects, put together with friends and not a lot of resources. Think back to Clerks or Before Sunrise: not the most polished or impressive movies on their surface. But from simplicity comes something very human, and the inherent excitement of seeing new voices get their shot at telling a story.

Humpday may not be as side-splitting as a day at the Quick Stop or as romantic as the streets of Vienna, but it is a humble little film that’s both extremely funny and very sweet in its own way. It follows two buddies who decide one drunken night to make an art film with a simple concept — two straight guys having their first gay experience, together, on tape — and the consequences of trying to go through with it. In the wrong hands it could have been an awful American Pie premise, full of raunchy humor and cheap stereotypes. But as an intimate portrait of friendship, relationships (one of the two is already married to a wonderful girl, the only other main cast member), and testing personal boundaries, it’s much more than just a gag.

Not that it’s a serious movie by any means. The dynamic between the two friends — one more straight-laced and settled (Mark Duplass), the other a wandering free spirit (Joshua Leonard) — accounts for as many funny moments as it does reflective ones, made even funnier by the absurdity of their idea. As is typical in the mumblecore style, the dialog is primarily ad-libbed, but both actors perfectly capture the affectionate antagonism of old friends. The way they play off each other keeps the balance of humor and humanity right where it needs to be to make a ludicrous concept seem believable, and the way it’s captured by director Lynn Shelton gives the silly situation an authenticity that’s incredibly charming. I Love You, Man may be the year’s more glossy and successful ‘bro-mance’, but Humpday explores ‘bro-love’ in a way that’s more awkwardly hilarious and emotionally satisfying.

[Humpday arrives in theaters July 10th. Don't be afraid to go on a man-date and catch it while you can.]