Without giving away too much, we can say that good ole George gets the crap embarrassed out of him by the brothers in the flick.

We saw the movie, but it doesn’t officially realize until October 30, so take some time to get to know Rubin.

BLAST: So Bob, tell us a little about yourself. I see a mix of film, tv, writing and comedy in your background.

BOB RUBIN: Everyone knows that as a baby, I was abandoned in the woods and raised at the end of a stick by a pack of wild corndogs. After years of
battling condiment addiction, I pulled myself together, started stand up and in only 26 years I made it to an obscure, cult hit status.

That’s 26 years of maximun R&B (rambles and babbles). The rest of the story is at Rubetime.com.

BLAST: What is your role in “Boondock Saints II?”

BR: I play Gorgeous George, a pivitol character in the storyline of “BDSll,” and another awsomely memorable character created by Troy Duffy.

BLAST: Tell us about “Gorgeous George” — what went into that character?

BR: To prepare for the role, I spent a week watching “The Sound of Music” over and over. When that didn’t work, I conjured up the spirit of Otto Preminger who told me to fatten up on Chubby Chug Bacon Beer.

BLAST: How did you get involved in Boondock Saints II?

BR: I was walking down the midway at a carnival when Troy hit me in the head with a sledge hammer on his backswing during a try at the
strength skill game, ring the bell. I was in a coma for a week. When I came to I was okay, except I lost all my 4’s, which screwed up a lot of my phone numbers and some uncashed checks I had. Anyhow, Troy felt so bad he put me in his movie.

BLAST: Any plans to come to Boston?

BR: Oh hell yes. I love Boston. Great town and it’s been way too long since I’ve been there. Don’t know when, but I’ll see ya there soon.

Enjoy the movie, it kicks ass.

Catch Bob Rubin in “The Boondock Saints II: All Saints Day” in theaters October 30.

I mean, it’s dank, old, a little sketchy, and has more cigarettes going at once than a high-stakes bingo parlor. But the railroad-themed casino features $5 table games, including craps. That’s good. The cowboy bar has good service — bartender Chris was very friendly. Oh, and you can tell people you stayed at the same casino that O.J. Simpson got arrested at for that sports memorabilia robbery. It also hosts fun UFC parties. Vegas has a distinct lack of sports bars.

One thing in particular really made the Palace Station worth the trip: The Bonkerz Comedy Club. That’s where I met comedian Chris Edgerly.

Edgerly headlined a show one night, doing a routine of impersonations and funny observational bits. While his name might not be familiar yet, his work probably is. He was Nick Diamond on “Celebrity Deathmatch,” and he has voiced an unbelievable amount of video games including Alpha Protocol, G.I. Joe, Godfather II, Ninja Blade, Lord of the Rings Conquest, Mass Effect, Halo 3, Kingdom Hearts II, Final Fantasy XII, SWAT 4, Yakuza (with Eliza Dushku) and several dozen more.

He currently provides the voice talent for Peter Potamus on the Adult Swim animated series “Harvey Birdman: Attorney at Law.”

Here are some questions and answers with Edgerly:

BLAST: How did you get your start in comedy? Why comedy?

Chris Edgerly: I was in college, October of ‘90. A buddy told me about a group of comedians who did stand-up once a month at this local pizza place in the basement downstairs. I met with them that night, and the next night I was onstage in front of a packed house. It was exhilarating. I had been doing some acting as a drama minor at the university (UGA) but nothing could quite match the thrill of doing your own material in front of an audience.

BLAST: You’ve done a lot of voice acting — what do you like about that side of entertainment?

CE: Two things about voice acting rule: One, you don’t have to worry about how you look or how old you are. It is egalitarian — if you can do the job (and have a good agent that believes in you), you’ll get work. Two, it’s constantly changing, so you never get bored. I audition five days a week, and the scripts are incredibly varied, from video games with aliens and zombies, to commercials involving friendly announcer-type voices, to voice-matching a-list actors for movies to animation involving just about any kind of character you could imagine. This week I’m doing ADR (automated dialogue replacement) work to provide the English voice for a character in a Japanese anime series. It’s a constant challenge to my imagination to see what I can do with a script.

Blast: Comedy or acting, which would you rather be doing?

CE: Impossible to choose. On the one hand, it’s more fulfilling to perform in front of a live audience, especially when you write the material and have ultimate creative control over how it’s delivered. On the other hand, getting to read someone else’s words and interpret them can be a treat, not to mention some of the famous people I’ve gotten to work with over the past few years. And it pays a hell of a lot better, and I can sleep in my own bed and don’t have to be on the road half the year.

Blast: How often do you come out to Vegas to perform? Any plans for an East Coast (Boston?) jaunt?

CE: Haven’t done Vegas often. I don’t like to leave L.A. if i can help it since work never stops in the voice-over world. It would have to take a very special occasion to come to the East Coast, but if things click with the Men’s Club Comedy Tour (the current project I’ve been doing with my three buddies), anything could happen.

Blast: How would you classify your comedic style? I’m sorry to ask this cliche, but who are your influences?

CE: I don’t know how I would classify my style. Above all, I try to be entertaining without insulting the intelligence of the audience. I have a few voices, some wry observations, some longer, more monologist type bits sprinkled in there as well. I like to gently subvert the audience’s expectations of where a bit will go. Above all, it is about giving the audience a good time that stays with them afterward. I’ve been inspired by so many comedians in my life: Cosby and Pryor and Carlin and Rich Little as a kid, Jim Carrey (his physical comedy more than anything), Dennis Miller’s incredible way with words, Bill Maher’s ease with commentary, even Johnny Carson’s way with an audience — the way he could take them anywhere he wanted to go, even when a joke didn’t work. How he could take them by the hand and lead them back whenever he chose. Contemporary comics — Patton Oswalt (a great wordsmith and imagist), Dave Attell (gets you to love lechery), Todd Barry (nobody does wry like him) and Chris Rock (back in ‘96, his HBO special “Bring the Pain” was the best I’d ever seen from a stand-up and still is, in my opinion.)

Blast: What does a comedian do when he’s not on stage? Are you always “on” or do you have people/friends that you can just be off/yourself around?

CE: When I’m not onstage I get up at the crack of 10 a.m., go to my agency and record my auditions, come home and surf the web for fun and ideas, get lunch, exercise, work on the act or anything creative I have on the docket for a little while, etc., spend time with my girlfriend, catch my favorite shows on TV, you name it.

Unexciting and yet highly pleasurable, because my life is my own. My schedule my own. It took years to get to that point but I’m enjoying the hell out of it. That’s probably why you wouldn’t suspect I was a comic if you met me away from a club. I’m not “on” very often . When I’m around my actor and comedian friends, sure. We’re all “on” in one way or another because we understand how we all think and the jokes come fast and furious. But otherwise I’ve been described by my “civilian” friends as laid back, philosophical and — gasp — mature. The opposite of the insecure kid that started years ago, thinking he had to make everyone laugh to prove to himself that he could do it as a career. You know, pretty textbook stuff.

Denver Post  journalist John Wenzel covers comedy. It’s his beat. So he’s not completely the worst at it. He also has pretty good taste in comedy, and in the course of his reporting, he’s even stumbled upon something worthy of a book, Mock Stars.  The book talks about a do-it-yourself trend in comedy that, over the last ten years or so, has led to a “hipster-leaning offshoot” where standup, sketch, videos and everything else you can think of in comedy have become more independent from the practical constraints and indirect artistic limitations of mainstream venues. (Let’s not call it a “movement” until it all moves away from traditional comedy clubs entirely, which may or may not ever happen.) 

Wenzel traces the similarities between indie music and indie comedy. And like a band you’ve never heard of, he thinks you really need to check this out. This comedy is for anyone “who finds most mainstream comedy boring, irrelevant, insulting, or worse-soul destroying,” Wenzel writes. Or for those who have “grown numb to the litany of ways white people are not like black people.”

Stylistically, indie comedy leans toward the absurdist, painfully self-aware or cynical as well as comedy that “challenges the audience to come to it, rather than offering safer, low-calorie humor.” Wenzel writes how there was a time after the ‘80s comedy boom when, for many people, the idea of going to a comedy club, with its cheap laughs, expensive covers and often racist or sexist undertones, was one of the least cool things you could do. That’s a sentiment and a caricature, or stereotype really, of comedy that persists today-somehow simultaneously with the equally untrue notion that all comedy is “cutting edge,” saying what no one else will. For the reader who either thought that most comedy stinks because it’s lame or that the stuff he or she has seen is the best and all that’s out there, this book will be an eye-opener.

Indie comedy is more likely to appear in your local rock club than comedy club, Wenzel writes, though it can really happen anywhere. And don’t confuse indie with underground. Indie comedy exists off some people’s radar, but it’s become more often something parallel to the mainstream. Oh yeah, and the most important shibboleth and shared sentiment of indie comedy, according to Wenzel: It’s for people who like Mr. Show.

Wenzel’s depiction of the development seems at its strongest not when he claims music and comedy go well together on the same bill-which is entirely true with strong, disaster-avoiding caveats (daytime shows with bands who differ ideologically from the comedians are hard!)-or even when he shows how this independent comedy had its roots in some comedians being fans of certain bands and eventually collaborating. Rather, it’s when he highlights how indie music’s propensity to take chances with its audiences, its sensibilities and the actual infrastructure of indie music, the smelly-yet-backhandedly welcoming clubs, cheap beers, the cynical-yet-open-minded crowds who frequent them, have very often perfectly suited the performers who have come up this way in the last ten years. The book is a series of portraits of those people: David Cross on Mr. Show, his tours around the time of 2001 and the album he released on an indie music label; Patton Oswalt’s “The Comedians of Comedy” tour; and even MTVs Human Giant and Adult Swim’s Tim and Eric Awesome Show, Great Job!, which Wenzel holds up as that sensibility of indie comedy-developed at a handful of amazing self-produced comedy shows in LA, Boston, San Francisco and New York-continuing to show up on national television.

“Dane Cook is undoubtedly one of the hottest comedians around and he is coming back to Comedy Central Records with a vengeance,” the company said in a statement. “His latest CD/DVD is Dane Cook ‘Rough Around the Edges – Live From Madison Square Garden.’”

The full-length album comes with the DVD-video portion shot in front of a live crowd of fans in New York. Cook is coming off two platinum-hit comedy albums “Retaliation” and “Harmful if Swallowed.”

Cook combines physical comedy with plays on words and George Carlin-esque observation comedy. “Dane Cook’s unique brand of stand-up comedy and accessible guy-next-door attitude have galvanized audiences of all ages,” said Comedy Central. “Named a “comedian phenom and icon” by Entertainment Weekly, Cook has maintained his reputation as one of today’s most prolific stand-up comedians while simultaneously distinguishing himself as a charismatic and versatile actor.”

Cook has made several film appearances also, including the hilarious cook in “Waiting” and a part in the failed “Employee of the Month” with Jessica Simpson. His latest role puts him in the lead of “Good Luck Chuck.”

Cook also signed a deal with HBO last year, continuing his “young Carlin” parallels.

“Rough around the Edges” hits stores November 13.