Protraph Lack of good storyline.

Borgarkeri A bit overrated, but still an amazing film

BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

filippaberry84 I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Charles Herold (cherold) The edgy, twisted, often outrageously funny Lampoon died years ago, although I recall it continued as the walking dead for a few years. This documentary follows the magazine from its pre-creation with the Harvard Lampoon through its early success and then just the tip of its long, slow, painful decline. It is a talking heads documentary, but the talking heads are witty and illustrated with pages from the magazine that work as a Greek chorus and are often cleverly animated.I probably started reading the Lampoon in the mid-70s - my favorite writers were Ellis Weiner and P.J. O'Rourke - but the documentary is most concerned with what it considers the magazine's glory days in the early 70s. Truthfully, the little bits of Lampoon stuff I've read by the early writers like Beard and O'Donoghue haven't really appealed to me, but the movie tells me they were amazing geniuses and perhaps they were.The story the movie tells is a fairly superficial one. It gets into some of the drama and gives some nice background, but it sticks very closely to the geniuses-working-hard-and-having-fun. The decline is portrayed as the loss of geniuses to SNL and the movies, which seems simplistic, and there's not really much attempt to put the Lampoon into a larger societal context.Which is fine, because it's an entertaining documentary, but for me it means people giving this 10 stars just have lower standards for a great documentary than I do. This is just a nice little history that fans of the magazine will enjoy. And it's probably pretty fun even if you don't know the magazine.

Twins65 I just watched this documentary about the rise & fall of National Lampoon magazine, a periodical I wasn't really supposed to be looking at when I was 14 in 1973, yet I did anyway (when I could find one). Despite average to good reviews here on IMDb, I found it quite enjoyable. I especially liked the parts where we caught video of a pre-fame Harold Ramis, Bill Murray, and of course John Belushi. Those guys WERE FUNNY! And it also allowed me to travel back in time to the mid-70's, a time when there was and actual "underground" comedy scene. And it seemed to poke fun of everybody (whites/blacks, Dems/Repubs, Jews/Gentiles) and you could laugh and not worry about "politically incorrect repercussions". Sadly, that time is long gone. Also, I saw a sh*t-load of 1970's era natural breasts, in both black and white and color! Say what you will about that long-lost magazine, they sure did know how to make funny visual jokes around naked women.I'm recommending this for anyone who'd like to take a nice 40+ year rewind.

Angus T. Cat I've given National Lampoon: Drunk Stoned Brilliant Dead a 5 out of 10. It's entertaining to watch: I was happy to find it on the Sky Arts channel here in the UK. But while the film traces the history of the magazine and its creators, and richly describes how the success of the magazine led to its expansion into radio comedy, comedy albums, stage shows, and movies, its images and interviews fly past quickly without the film explaining what factors led to the creation of the magazine and how it was related to other magazines, newspapers, comics, and cultural products of its time.As the documentary pointed out, the magazine grew from the Harvard Lampoon, a Harvard humour magazine that didn't reach a national audience. In the 1920s there were nationally published magazines that collected articles and cartoons from universities around the US: "College Humor" was probably the largest, and was published from 1920 to the 1940s. These college humor magazines were aimed at a young but mainstream audience. It surprised me that Drunk Stone Brilliant Dead didn't mention Mad magazine. It was Mad. first published in 1952, that brought radical and subversive humour that poked fun at authority figures to a country wide audience. Without Mad, there probably wouldn't have been a National Lampoon. It also surprised me that the documentary made no mention of the Underground press and Underground comics of the 1960s. The art style of the first issues of the Lampoon looked very reminiscent of the style of Robert Crumb and other artists from Zap. I didn't like National Lampoon very much in the 1970s. I read my older brother's issues. Even back then, I thought they were indulging in printing pictures of naked girls and making jokes about drugs and sex simply for the sake of it. They didn't have the force of the Underground comics, which were breaking ground in discussing subjects that before then couldn't be mentioned, and were using the archaic spirit of Mad to take apart the establishment and cultural heritage of the era. I remember the issue of National Lampoon that printed a spoof of Mad, taunting that Mad was stuffy, middle aged, and had long forgotten the meaning of satire. I thought that while Mad didn't print cartoons of naked women and guys smoking pot and snorting coke, it still featured strips that aptly commented on society: strips that have been reprinted and discussed in many studies about US history and the growth of graphic novels. I thought while I was watching the documentary that National Lampoon branched out very quickly into other media and became a brand: while Saturday Night Live wasn't officially associated with National Lampoon the show clearly stole their talent and their style of satire. I think the magazine pulled its punches keeping an eye on their advertising revenue and growing empire. I'm not saying it wasn't funny- I thought the record albums and movies were funny- but I think the humour of the magazine was aimed at pleasing its creators and audience of liked minded readers, rather than exposing the darker aspects of its targets. The publisher of Mad, William M Gaines, didn't allow advertising in the magazine because he said a satire magazine couldn't make fun of an advertising campaign and then print an ad a few pages later for the same product or a similar product. He also saw it as a practical issue, saying that the magazine would then try to attract more advertisers, and if it started losing some of its advertisers and the advertising income, the readers would still expect the same fancy package, but without the advertising income to pay for the higher production costs, the magazine was sunk. Which it seems, along with loss of readership, was what ultimately happened to National Lampoon.

Mark Turner For many of us our first introduction to off kilter and subversive humor came in the form of a magazine that was on newsstands everywhere. For pre-teens it was less the humor that was involved that got our attention but the fact there was nudity in it and it wasn't hidden under the counter. But for those who loved a good laugh it was the premier source of humor to find at the time, our own generations humor as opposed to that of what was popular at the time. There is a huge difference between Henny Youngman cracking wise about his wife and a magazine cover that pictured a dog with a gun to its head that read "Buy this magazine or we'll shoot this dog".This movie takes a look at NATIONAL LAMPOON from its inception to its demise, covering all bases good and bad. A spin off of the HARVARD LAMPOON, the magazine was started by Doug Kenney, Henry Beard and Robert Hoffman. It was a humor filled magazine that parodied and focused on what was happening in the country, sort of like MAD magazine but from a more adult perspective. What the three of them did was bring in many of the most thought provoking comedy writers of the time to work for the magazine and in return its success skyrocketed.You have to remember that these were the days before comedy clubs dotted the country and skit based comedy took over the airwaves. As a matter of fact it was from National Lampoon that many of those who went on to take over the airwaves began. As the magazine grew in popularity things happened that altered what was to come. Kenney left for a time leaving the magazine in the hands of Beard alone. A workaholic who helped create the tone of every issue, his disappearance had an effect on all involved.But what helped move the downfall of the magazine as well was the departure of many of the staff members. As the magazine grew it evolved into a number of albums, weekly radio shows and stage productions involving those writers. NATIONAL LAMPOON'S LEMMINGS was a record and stage show featuring both John Belushi and Chevy Chase. As those writers and performers left for shows like Saturday NIGHT LIVE, the magazine suffered. Many other noted writers stepped in and did well but they too left.The magazine got involved in movies in 1978 with the release of NATIONAL LAMPOON'S ANIMAL HOUSE but by then the magazine sales were dwindling. More successful movies followed but the magazine had lost its punch, relegating itself to special issues, rehashes of old issues and more nudity rather than humor. Eventually it ended publication.This documentary takes a look at all of that. Using a stills, filmed footage and numerous interviews with those involved it blends them together to take us through the magazine as it was and as it ended. It talks about the good and the bad, never whitewashing facts to suit those who loved it non-stop. In so doing it also reflects the evolution of comedy from that time period. Nearly every major comedy writer or humorist at the time had some connection to the magazine be it SNL writer Michael O'Donoghue, political satirist P.J. O'Rourke or screenwriter John Hughes.In some ways it was the success of the magazine that led to its demise years later. Coupled with a generation that relies solely on visual media and ignores printed matter there was little hope that the magazine could go on. Watching this movie makes that a sad realization that so much was lost when the magazine folded. But with this film many who weren't aware of the contribution to comedy that came from the magazine will be realized. Perhaps enough so that people will go back in search of old issues, maybe one fan will be inspired to create his own LAMPOON someday. We can hope.Until then we can watch and learn from some of the most creative comic minds of the past century on screen here. It serves as a reminder that creativity and humor can walk hand in hand and inspire one another. And it lets others know that there was something funny long before they were born, something this generation seems to not realize yet. With this movie the proof is there. An interesting and delightful documentary that captures the time and the laughs in only 98 far too short minutes.