I agree with Randy E. Plain and simply, the with-its that have a grasp on American Iconoclastic figures and trends will enjoy this movie, those that do not, won't. There are no please-laugh-here pauses. It's refreshing to watch a comedy that assumes a reasonably high level of cogent application and pop culture absorption from its audiece.

Not quite as funny as "Best in Show" or "Waiting for Guffman", but still better than most comedies these days and it will make you laugh out loud. A dead-on parody of the Folk singers from the 60's (for those of us old enough to remember them).

Occasionally crosses the line from parody to slapstick but is mostly right on. Builds to a surprisingly moving and affecting climax. Unfortunately that is not the end of the movie. The "epilogue" needlessly spoils the mood without adding anything of interest or value.

A mighty wind---BLEW! I know this comes as a grand disappointment to fans of the brilliant Waiting for Guffman and Best in Show, but such is life. If you feel compelled to see for yourself, you would do well to wait and rent it. This way, you can be let down and only be out four bucks. Another strategy would be to duck into a theatre in which A Mighty Wind is playing, catch the first fifteen minutes, and then move onto a better feature. There could?ve been three times as many jokes in this script. Eugene Levy?s character, the burnt-out, aging singer, is painfully unfunny. That is, unless you think mental illness is amusing. It would be one thing to run with a bunch of recreational drug use jokes, (which could?ve worked here), but to make light of bi-polar disorder or whatever is tasteless. Fred Willard?s character is funny for the first five seconds, when his hairstyle is revealed, and dead flat after that. There is no real discernable plot, and the lead character, (the bespectacled guy from Best in Show who corrected Willard about the Mayflower), is far too bland in a role that is dying for some energy. Obviously there are certainly some bright spots. Seeing all of the actors from the previous two movies in their new characters is fun, and there are some good lines, although it took me hours to think of any after leaving the theatre. Again, unless your really bored, or on a money-no-object cruise through life, wait and rent it. … Expand

"A Mighty Wind" is a wonderful movie, especially for those who can remember the 50's and 60's and the folk groups that were popular at the time. Written by Eugene Levy and Christopher Guest and directed by the latter, this is a movie that pokes fun at and remembers a time when folk groups once dominated the music and cultural scene. The talented Mr. Levy performs both musically and dramatically and gives an exceptional acting performance. Catherine O'Hara, Ed Begley and Harry Shear likewise add to the joy of this picture with noteworthy performances. Satire and spoof at its highest, the movie is well written, edited and directed. It's a movie you go to and just relax as the story unfolds to your absolute delight. Be prepared to smile and to laugh out loud for this is clever comedy at its best.. The movie earns and deserves a 9 and is a "must see". Surprisingly enough, although all of the "folk tunes" are original and for the most part written by Messrs. Guest and Levy, they are great to listen to and, in the era portrayed, probably would have been hits. I really liked this flick. … Expand

This movie is NOT Guffman or Best in Show re-heated. While the satirical premise is the same, the delivery is much more touching and gentle than those other two. I wish people would stop complaining about how the movie is/isn't what "they thought it would be". Judge this film on its own, not as something it's not.

I thought "Guffman" was OK, and "Best in Show" very good, so this film was quite the disappointment. The tip-off for me should have been how this started off well at the box-office, but is now sinking like a stone. As others have noted, it is fun to see everybody back from "Best in Show", but the "brand equity" of Christopher Guest films has now been severely tarnished. The magnificent Parker Posey is barely on camera. Will probably make my "Worst Movies of 2003" list. Sorry, I just didn't get it. … Expand

This is the best movie ever!

I started laughing 30 seconds into the movie and never stopped. Intelligent, nuanced comic improvisation that never loses its focus even when it's going over the top; never settles for the sophomoric gag; and gives these wonderful actors room to explore characters who are simultaneously wacky and warm. Eugene Levy is downright scary as the schizophrenic but eerily sane Mitch. The music is so bad it's good: abysmal lyrics and cliched harmonies performed lovingly and rambunctiously. The only reason I don't give the film a 10 is that the surfeit of characters meant that too few of them (Parker Posey especially) had enough screen time to really come into their own.… Expand

No, it wasn't quite as strong as "Guffman" or "Best in Show." But this movie is hilarious -- I laughed from beginning to end. Those who didn't like the movie simply didn't get it: if your parent had played the Seekers, Peter, Paul, and Mary, and the Kingston Trio ad nauseum (like mine did -- "there's a history of abuse in my family, but it was mostly musical in nature"), you would have been gasping for air. And the music was amazing. It had that treacly quality so typical of the folk music of the 60s, with just lyrics that were just bizarre enough to signal that they were poking fun. ("A Mighty Wind is blowing -- it's blowing you and me.") I loved this movie!… Expand

Absolutely hilarious. Christopher Guest and Eugene Levy are comic geniuses in my opinion. Excellent!

I love this film! Guest/Levy are geniuses, and the improvisation is just incredible! Laugh my head off every time I watch it! DVD features are great too.

If you don't find this movie hysterical. then you're probably not old enough...and sorry, no deflowered apple pies in this one junior! By far the funniest movie I've ever seen! Smart, funny, heartwarming! Guest does it again!

Smart, Intelligent Humor.

Not as good as the pervious ones.

Had to smuggle the DVD from the States. France where I live is sadly not on the release list. Not as wickedly funny as Best in Show and Waiting for Guffman, alas. But the Mitch and Micky saga is very weirdly touching. And there might be a kiss at the end of the rainbow.

I haven't seen this much acting talent in a movie in a good decade. Not what I expected but I enjoyed it immensely.

While it may not be Guest's best work, it's still pretty darn good. And when it isn't funny, it's actually touching. I found myself moved more than once. To quote Richard Roeper, "Guest's worst is still much better than Adam Sandler's best."

A MIGHTY WIND, a film from director Christopher Guest and his talented ensemble of improvisational players (Guest himself, Harry Shearer, Michael McKean, Eugene Levy, Catherine O?Hara, Jennifer Coolidge, Fred Willard, etc.) is both delightful and disturbing, but on balance I enjoyed it very much. It is not so much a send-up/spoof of folk music as it is a (mostly) successful attempt to find the funny, ridiculous, and perverse foibles of any people who are passionate about something and found-- however briefly-- even moderate success with their passion. The MIGHTY WIND experience is unique. So much so that there is really nothing to compare it with, and my evaluation reflects my being tremendously impressed, perhaps more than its actual overall accomplishment (although it is quite good). There will be a tendency to compare it with THIS IS SPINAL TAP (where Guest, Shearer, and McKean first impersonated a musical trio), and also to Guest?s other two ?mockumentaries??WAITING FOR GUFFMAN and BEST IN SHOW. Such comparisons are not really apropos. While the style and format of all these films may be the similar, and while they may share many of the same brilliant cast members, in substance A MIGHTY WIND is, indeed, a different piece of work. The film is certainly another "mockumentary", but by definition this is simply a mock documentary, not necessarily a mocking one. Indeed, the satire is pointed, but fairly gentle, and there is about the whole experience as much the quality of a tribute as there is of comedy. Guest et al seem to enjoy the folk music genre, and, unlike BEST IN SHOW, they often find themselves laughing with it, not at it. What makes it all work are the songs. The creators (Guest, Levy, et al) have gone out of their way to fashion a credible backstory, complete with truly original songs written for the film, which are. performed (sung AND played, often live) by the actors who play The Folksmen (based on a bizarre combination of The Kingston Trio, Limeliters, Brothers Four, Cumberland Three, Highwaymen, Tarriers, Brandywine Singers, etc.), The New Main Street Singers (a very loose mix of the New Christy Minstrels, Back Street Majority, Serendipity Singers, Seekers et al), and Mitch & Micky (who owe a lot to Ian & Sylvia, with a dose of John & Michelle Phillips thrown in). Still, none of these comparisons can be made too literally, as all are leavened by a dose of the creators' unique sense of humor. The songs themselves are worth listening to. Of course they are parodies. Anyone familiar with the 60s folk genre has but to listen carefully to the lyrics. But they are performed so sincerely, so seriously, that at first you don't notice: you just enjoy the pleasant, somewhat nostalgic harmonies. When you finally figure it out, the straightforward (nothing coy or wink-wink about it) presentation makes it all so much more effective and brilliant. They are also good songs which perfectly capture the special sound of each particular group or style they are trying to evoke, and they are all the funnier for the sincerity of their performance. The performers are obviously enjoying themselves, and so will the audience. Parts of the movie are hilarious, other parts perhaps a tad stereotypical and maybe even offensive. But as a creative exercise that will introduce more people to the essence of folk music's popular heyday, it is definitely worth seeing (and hearing). Folk music in this country is centuries old, and the movement continues to this day. It was only during the Great Depression, however, that it began to assert itself as ?popular music?, represented by pioneer performers such as Woody Guthrie. In the 40s, the Almanac Singers featuring Guthrie were among the first of the popular folk groups, exemplified by The Weavers during the 1950s. Social commentary and protest was as much a part of folk music as entertainment, and Bob Dylan continued that emphasis into the 1960s. But in the early part of that effervescent decade, folk music exploded as an incredibly popular and commercial force, represented by groups like The Kingston Trio, The Highwaymen, The New Christy Minstrels, and Peter, Paul, & Mary?all of whom (along with others) charted number one hits and found themselves more than once in the top twenty. This ?Great Folk Scare? (as the rock n?roll community labeled it) did not last long. Bob Dylan and the Byrds electrified folk, while The Mamas & The Papas carried the sound to new and different heights. Except for The Limeliters singing ?Things go better with Coke?, folk music no longer was in the commercially popular spotlight, but it did not go away. In various permutations, The Kingston Trio, Highwaymen, Limeliters, Brothers Four, New Christy Minstrels, and Peter, Paul & Mary continue to perform today, and while they still sing the old songs well, they are not content to rest on their laurels, but are always open to new songs and original music. In addition, new folksingers have emerged on the scene, keeping the medium vibrant and alive. A MIGHTY WIND recaptures the glory years of commercial folk popularity in the early 60s. It recognizes the differences that existed even then?between songs with a message and songs that sell, and between traditional style and more crowd-pleasing entertainment. All of that is brought into today, using established venues such as New York?s Town Hall and recognizable references such as Public Broadcasting, while skewering pretension with such players as Fred Willard, Jennifer Coolidge, and Ed Begley, Jr. (a Swedish Yiddisher?) leading the way. The balance struck between the extreme and the sincere is what makes a MIGHTY WIND, with its intentionally effective original music, so compelling and delightful. Since so few good original songs are written for films these days (particularly songs which have anything to do with the film itself) it wouldn't surprise me if a song or two from A MIGHTY WIND found itself/themselves nominated for the Best Song Academy Award. My Oscar recommendation goes to "A Kiss at the End of the Rainbow". But you see it and decide for yourself. If I have one strong objection to this film, it is that it is too short, with not enough made of certain dynamite characters (Parker Posey?s for one, and Jennifer Coolidge?s for another: although they are perfect). Guest recognizes Willard and Begley as his comic center and Levy and O?Hara as his dramatic center, and this gives the film a narrative focus that some of his other works have lacked. Still, I kept hoping for more. You will too, I think. Enjoy!… Expand

A MIGHTY WIND, a film from director Christopher Guest and his talented ensemble of improvisational players (Guest himself, Harry Shearer, Michael McKean, Eugene Levy, Catherine O?Hara, Jennifer Coolidge, Fred Willard, etc.) is both delightful and disturbing, but on balance I enjoyed it very much. It is not so much a send-up/spoof of folk music as it is a (mostly) successful attempt to find the funny, ridiculous, and perverse foibles of any people who are passionate about something and found-- however briefly-- even moderate success with their passion. The MIGHTY WIND experience is unique. So much so that there is really nothing to compare it with, and my evaluation reflects my being tremendously impressed, perhaps more than its actual overall accomplishment (although it is quite good). There will be a tendency to compare it with THIS IS SPINAL TAP (where Guest, Shearer, and McKean first impersonated a musical trio), and also to Guest?s other two ?mockumentaries??WAITING FOR GUFFMAN and BEST IN SHOW. Such comparisons are not really apropos. While the style and format of all these films may be the similar, and while they may share many of the same brilliant cast members, in substance A MIGHTY WIND is, indeed, a different piece of work. The film is certainly another "mockumentary", but by definition this is simply a mock documentary, not necessarily a mocking one. Indeed, the satire is pointed, but fairly gentle, and there is about the whole experience as much the quality of a tribute as there is of comedy. Guest et al seem to enjoy the folk music genre, and, unlike BEST IN SHOW, they often find themselves laughing with it, not at it. What makes it all work are the songs. The creators (Guest, Levy, et al) have gone out of their way to fashion a credible backstory, complete with truly original songs written for the film, which are. performed (sung AND played, often live) by the actors who play The Folksmen (based on a bizarre combination of The Kingston Trio, Limeliters, Brothers Four, Cumberland Three, Highwaymen, Tarriers, Brandywine Singers, etc.), The New Main Street Singers (a very loose mix of the New Christy Minstrels, Back Street Majority, Serendipity Singers, Seekers et al), and Mitch & Micky (who owe a lot to Ian & Sylvia, with a dose of John & Michelle Phillips thrown in). Still, none of these comparisons can be made too literally, as all are leavened by a dose of the creators' unique sense of humor. The songs themselves are worth listening to. Of course they are parodies. Anyone familiar with the 60s folk genre has but to listen carefully to the lyrics. But they are performed so sincerely, so seriously, that at first you don't notice: you just enjoy the pleasant, somewhat nostalgic harmonies. When you finally figure it out, the straightforward (nothing coy or wink-wink about it) presentation makes it all so much more effective and brilliant. They are also good songs which perfectly capture the special sound of each particular group or style they are trying to evoke, and they are all the funnier for the sincerity of their performance. The performers are obviously enjoying themselves, and so will the audience. Parts of the movie are hilarious, other parts perhaps a tad stereotypical and maybe even offensive. But as a creative exercise that will introduce more people to the essence of folk music's popular heyday, it is definitely worth seeing (and hearing). Folk music in this country is centuries old, and the movement continues to this day. It was only during the Great Depression, however, that it began to assert itself as ?popular music?, represented by pioneer performers such as Woody Guthrie. In the 40s, the Almanac Singers featuring Guthrie were among the first of the popular folk groups, exemplified by The Weavers during the 1950s. Social commentary and protest was as much a part of folk music as entertainment, and Bob Dylan continued that emphasis into the 1960s. But in the early part of that effervescent decade, folk music exploded as an incredibly popular and commercial force, represented by groups like The Kingston Trio, The Highwaymen, The New Christy Minstrels, and Peter, Paul, & Mary?all of whom (along with others) charted number one hits and found themselves more than once in the top twenty. This ?Great Folk Scare? (as the rock n?roll community labeled it) did not last long. Bob Dylan and the Byrds electrified folk, while The Mamas & The Papas carried the sound to new and different heights. Except for The Limeliters singing ?Things go better with Coke?, folk music no longer was in the commercially popular spotlight, but it did not go away. In various permutations, The Kingston Trio, Highwaymen, Limeliters, Brothers Four, New Christy Minstrels, and Peter, Paul & Mary continue to perform today, and while they still sing the old songs well, they are not content to rest on their laurels, but are always open to new songs and original music. In addition, new folksingers have emerged on the scene, keeping the medium vibrant and alive. A MIGHTY WIND recaptures the glory years of commercial folk popularity in the early 60s. It recognizes the differences that existed even then?between songs with a message and songs that sell, and between traditional style and more crowd-pleasing entertainment. All of that is brought into today, using established venues such as New York?s Town Hall and recognizable references such as Public Broadcasting, while skewering pretension with such players as Fred Willard, Jennifer Coolidge, and Ed Begley, Jr. (a Swedish Yiddisher?) leading the way. The balance struck between the extreme and the sincere is what makes a MIGHTY WIND, with its intentionally effective original music, so compelling and delightful. Since so few good original songs are written for films these days (particularly songs which have anything to do with the film itself) it wouldn't surprise me if a song or two from A MIGHTY WIND found itself/themselves nominated for the Best Song Academy Award. My Oscar recommendation goes to "A Kiss at the End of the Rainbow". But you see it and decide for yourself. If I have one strong objection to this film, it is that it is too short, with not enough made of certain dynamite characters (Parker Posey?s for one, and Jennifer Coolidge?s for another: although they are perfect). Guest recognizes Willard and Begley as his comic center and Levy and O?Hara as his dramatic center, and this gives the film a narrative focus that some of his other works have lacked. Still, I kept hoping for more. You will too, I think. Enjoy!… Expand

Not as funny as "Best in Show" which wasn't as funny as "Guffman." The subject of folk music is mainly to blame; a soft, warm and fuzzy subject with actors making very soft character choices. Eugene Levy continues to be, for me, the weakest link. His character (monotonous, wild-eyed burnout) would be annoying in a five-minute SCTV sketch, much less a full-length feature. Ed Begley, Jr., however, shines as the Scandinavian-born public TV executive with a love for folk music and a penchant for peppering his conversation with Yiddish. The comedically talented Parker Posey was wasted, barely grabbing any screen time. "A Mighty Wind," with its moments, ultimately sputters.… Expand

Hysterical, I laughed my a$$ off. Even better than "Guffman" and "Best in Show." i LOVE Jennifer Coolidge, especially when she says, "Me TUOO."

Why not just enjoy this masterpiece of sketch comedy and not disect it? My wife hurt her ribcage with laughter and that's good enough.

This movie is the stupidest film ever. I don't get it at all with these characters.They all act like those anime people in the movie! Ahhhhhh!!!!!!!!

Man, this was funny. Good to see the gang back together!

I loved spinal tap, and waiting for guffman, thought best in show was alright but this movie was horrible. I got a single good laugh out of this movie that's it nothing more. See it if you are a fan of Christopher Guest, otherwise stay away.

Terrible. Just terrible. Boring pretentious pap.

This film gets better and better the more you see it. I used to be a minor player in the folk music scene and i ask the question are they doing "Ian and Sylvia"?

Not sure why I'm not giving this thing a '10', other than I believe nothing's perfect. Let me say this: I am no fan of Eugene Levy, and I sorta cringe whenever I see his name on the marquee...BUT.. in this movie, he absolutely OWNS every scene he is in. As someone who originally expected to fast forward the scenes Levy was in, instead I kept rewinding just to watch him. He was in rare form and hilarious in the extreme.… Expand

We absolutley loved it! Our daughters didn't get it. Which just made us feel this was a special gift for "our" generation. My side still hurts rom laughing!

This movie had me keep a smile on my face the entire time. The laughs are rather non-stop and the music is very inspired. I think Best in Show was better but this film is still better than any Adam Sandler vehicle. Too bad the majority of the American public have no idea who Guest is and our missing out on great comedy.

I speak of comedy these days as Fred Willard hilariously speaks of himself in one of "A Mighty Wind"'s many hysterical moments: "Wha' Happened?"

This movie is a litmus test to who gets it and who doesn't in my book. That's the beauty of these little Faberge eggs that Mr. Guest puts together. The musical contribution these actors put in can't be measured in Hollywood terms. You'd have to go back to Vaudeville to find performers like this, who can effortlessly float from comedy to drama to dance (Guffman), to MUSIC!! They are playing and singing in this movie live. I guess I'm happy that there is somebody nurturing such madness in this troupe of his. Hats off to Mr. Guest!! Oh, and by the way, the album is brilliant also, maybe more so. Just my opinion. R.E.… Expand

This movie is all hype and is terribly written!

It's a little uneven. "A Mighty Wind" strains a little too hard for laughs in portraying the couple from The New Main Street Singers as religious fanatics. But there's the music. The reunion concert for public television looks absolutely authentic. Catherine O'Hara and Eugene Levy steal the movie when they hit the stage. And that's the problem. As Mitch and Micki, the SCTV veterans might move you to tears, but it's the wrong tears. They're brilliant, but you want a funny bit to be your lasting impression in a comedy. … Expand

My wife and I loved this film so much, we saw it twice IN A THEATRE the first week.

It's hard to find good comedy these days, hence the nine. i laughed harder the second time around even though the music was becoming a pain in the ear.

This movie has a flavor all its own, in contrast with the previous three, and i'm still amazed at how convincing these actors are. they never cease to amaze me with their witty improvisations.

A great movie for one who likes Folk Music. If you're into musicals, this is the movie for you.

Surely this is not a cookie cutter movie. It does not recycle mainstream humor—good for it, but the parody is rather formulaic. And it is kind of boring.

A pleasant little outing, nothing offensive, but a little weak on the finish. I don't think the Spinal Tap approach works on folk music. Folk music had appeal in the 60's due to its hokeyness. The harder one tries to make fun of it, the more genuine the parody sounds. One can sing such tunes with a straight face only through total absorbtion in the pretension. The fact that it's funny and ridiculous underneath is obvious to all but the most narcissistic revolutionaries.… Expand