The film benefits greatly from a less manic tone than its predecessor, as Cho appears to have settled comfortably into her skin.
Notorious C.H.O. The Movie (2002)
Tomatometer
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Reviews Counted:68
Fresh:57
Rotten:11
Average Rating:6.8/10
Consensus: For those who enjoy raunchy humor, there are a lot of laughs to be found in Cho's second concert movie.
Theatrical Release:Jun 28, 2002 Limited
Box Office: $836,229
Synopsis: Trash-talkin' comedian Margaret Cho, famous for her one-woman shows, her tough but also feminine image, and her awareness of social issues, returns to the screen in NOTORIOUS C.H.O. THE MOVIE,... Trash-talkin' comedian Margaret Cho, famous for her one-woman shows, her tough but also feminine image, and her awareness of social issues, returns to the screen in NOTORIOUS C.H.O. THE MOVIE, directed by Lorene Machado. This follow-up to Cho's successful 2000 show I'M THE ONE THAT I WANT continues to test the boundaries of irreverent humor while raunchily celebrating the explicit personal anecdotes of its star. Cho fearlessly tackles a wide variety of issues with equal parts sarcasm, heart, and pride. Nothing is sacred. She takes the audience on a wild ride that includes colonics, fisting, and sexual fetishes and revisits some of her favorite topics including gay rights, body image, and self-esteem issues. Cho revels in facial expressions, and fans of Cho will remember her riotous impression of her traditional Korean mother (whom viewers finally get to meet!) In NOTORIOUS, she continues to use her cartoonish expressions to remark on and highlight her candid humor with hysterical results. Cho has an uncanny ability to celebrate diversity, she is a self-proclaimed "fag-hag, Korean-American, bisexual", with biting humor and very little sentimentality. NOTORIOUS C.H.O., which takes its title and inspiration from the fearless ladies of hip hop (think Lil' Kim), once again proves that Cho is a first-rate comedian who ranks up there with Sandra Bernhard, Richard Pryor, or George Carlin. [More]
Starring: Margaret Cho
Starring: Margaret Cho
Director: Lorene Machado
Director: Lorene Machado
Studio: Wellspring
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Reviews for Notorious C.H.O. The Movie
Cho has expanded her repertoire [since her last cincert film] to one that, at least part of the time, has appeal across the board.
Cho, who's first concert film was more like a group therapy session than comedy, lightens up considerably for her second
Audiences who appreciate extremely raunchy humor will find the giggles flowing, but remember to bring the tissue, because you'll laugh until you cry.
She's as rude and profane as ever, always hilarious and, most of the time, absolutely right in her stinging social observations.
[Cho] creates at her worst long-winded screeds on 'survival' and, at her best, a strutting confidence born of misery.
[Cho's face is] an amazing slapstick instrument, creating a scrapbook of living mug shots.
Cho's fans are sure to be entertained; it's only fair in the interest of full disclosure to say that -- on the basis of this film alone -- I'm not one of them.
For 95 often hilarious minutes, [Cho] riffs on the diciness of colonics, on straight versus gay personal ads, on how men would act if they had periods, and on the perils of a certain outré sexual practice.
Though she gets a little preachy at the end, Cho finds wonderfully outrageous ways to get her points across.
Where last time jokes flowed out of Cho's life story, which provided an engrossing dramatic through line, here the comedian hides behind obviously constructed routines.
If you really want declare war on the culture of brainless glam, you have to get a bit smart and ugly. In this war, Cho is truly doing her bit.
In her first picture, she was as shrill as fingers across a blackboard. Much less shrill and repetitive this time, her act is more inviting to non-fans. Even so, I found it more cute than funny. I never laughed.
This macho lady rants at her best and most comfortable as combo socially conscious female stud.
With Notorious C.H.O. Cho proves she has the stuff to stand tall with Pryor, Carlin and Murphy.
Raunchy though [Cho's] material is, it embraces all comers, regardless of gender, sexuality, race or ethnicity. And it's never been sharper -- or funnier -- than it is here.
A hit- and-miss affair, consistently amusing but not as outrageous or funny as Cho may have intended or as imaginative as one might have hoped.
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