'Get Him to the Greek' is a sort-of sequel to the film, 'Forgetting Sarah Marshall,' but focusing on the further exploits of the larger-than-life fictional Brit rocker Aldous Snow (as played by Brit-comic Russell Brand), who was but a key supporting character in his first appearance, and the star (more or less) in his second. The film introduces us to Snow's fictional love interest, Jackie Q, a chanteuse as well but whereas Snow is supposed to be a rock star, Jackie Q is decidedly more about pop, and especially the sexual innuendo laden pop of our modernity. Though she is intended as a send-up of the genre, the songs presented within the film as Jackie Q's 'hits' (seen on the fictional show-within-a-show news reports laid out within the film) are as good or better than the bulk of the current crop of femme pop hits, from the likes of Ke$ha and Nikki Minnaj.

The first song played as an example of Jackie Q's contribution to art is 'Supertight' -- which is, naturally, entirely innuendo with no attempt at subtlety -- about Jackie Q's vagina, and how tight she keeps it, and how she desires to have it stimulated in the various conventional (and not-so conventional) means by which such is done. But damn, if it isn't a catchy song after all, with its insistent beat and choral refrain, "ride me, inside me it's supertight, boom boom, shake the room like it's dynamite."

Aldous Snow has a cameo in the song, also rap-singing outrageously and somewhat more directly about its central subject, wherein he declares:
You're too tight,
You're like a wet vise
Your pussy is a crucifix
My cock is like Christ
A little searching will undoubtedly reveal critics to have universally acclaimed this line as the greatest song lyric ever penned. So great and profound and meaningful is it that in fact I would hazard to guess that those last two lines were the first thing written in this entire song, possibly in the entire film, and all the rest was conjured up as build-up to, and denoument from, the pussy-crucifix/penis-Christ analogy. I rather imagine, indeed, some Hollywood bigshots putting golf balls into shot glasses in the head honcho's office, when one declares, "hey, suppose there was a song where the singer compared his penis to Jesus, and his girlfriend's pussy to the crucifix. You know, cause it's so tight!!" And another responded, "hey, yeah, like, the girlfriend could be actually singing the song but then the boyfriend pops in and announces that." And the first wraps the thought, "....because the whole song is about how tight her pussy is-- hey, we could make a movie about these two, the girl and her boyfriend and the relationship that has them singing that." Then back to the first, "wasn't there a movie out not too long ago with some character who was this outrageous British rockstar? Let's use him. We'll make it a sequel to that one, but just with the rock star character."

And that's not even getting to the other Jackie Q song shown in the film, Ring Round the Rosey, where the songstress (with no assist from Snow) appears in a video horribly and hilariously juxtaposing little girls singing the old nursery rhyme with, ahem, adult girls dancing about in Marie Antoinette wigs while Jackie Q sings of her talent for, and enjoyment of, anal sex (sample lyric: "some bloke's say that one hole/ is more than enough/ then why did God give me two/ not including my mouth?")



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