More than just a misfire, this attempt at a rude comedy goes so spectacularly wrong that it actually contradicts its own jokes even as it's telling them. But then it undermines everything as it goes along, for example indulging rampantly in comical cruelty before trying to say something meaningful about the dangers of bullying. The real question is how the cast members could have agreed to make a movie in which they all come across as incoherent idiots.
The story opens as Dan (Vince Vaughn) clashes with his boss Chuck (Sienna Miller) then quits dramatically, taking newly retired Tim (Tom Wilkinson) and airhead newbie Mike (Dave Franco) with him to start a new sales company. But after a year, business isn't good, and the future hinges on making a massive deal with Bill and Jim (Nick Frost and James Marsden). The problem is that Chuck is also bidding for the business, so Dan, Tim and Mike fly off to Maine and then Berlin to seal the deal with a handshake. Impossibly they arrive in Berlin at the same time as Oktoberfest, the marathon, a gay S&M festival and the G8 Summit, with its accompanying anarchist protest. Meanwhile back home, Dan's wife (June Diane Raphael) is having problems with the kids.
Frankly, there is so much going on in this film that it's exhausting. It's as if screenwriter Conrad just threw everything he could think of onto the page and didn't worry if it made even a lick of sense. Every scene feels interrupted by a bit of random chaos that isn't remotely amusing. And despite making a movie that's obsessed with sex, the filmmakers are unable to decide whether they want to make fun of it or are terrified of it (so they end up being both at the same time). Each time something interesting or funny threatens to happen, it's sideswiped by something so breathtakingly bungled that we don't know where to look.
Continue reading: Unfinished Business Review
Despite his business acumen and ability to land important deals, one businessman named Dan Trunkman (Vince Vaughn) still managed to get a pay cut from his uncaring boss - who may be hot but she's still widely hated throughout the company. A year later, he's set up his very own business with only two employees: one man who's old enough to have retired a decade ago (Tom Wilkinson), and a boy who's barely out of college (if he ever managed to get that far) hilariously named Mike Pancake (Dave Franco). Even in spite of the unsual trio, they still manage to secure a lucrative deal with a top company and make way for a trip to Germany to shake on it. However, another company threatens to disrupt everything - Dan's former employers. In order to be noticed over his busty blonde former boss, he has to pull out all the stops. And we mean all of them.
Continue: Unfinished Business - Red Band Trailer
When joining the dating app, the Hollywood actor got more matches then the comedian during a hilarious skit on Thursday's (July 17th) episode of 'Conan.'
The talk show host, who is already married, and the 29 year-old actor created fake Tinder accounts in a hilarious segment on Thursday night's (July 17th) episode of 'Conan.' The duo uploaded real photos of themselves, but used fake names and profiles.
O'Brien used the fake moniker, 'Chip Whitley'
A consistently hilarious stream of in-jokes keeps the audience in fits of laughter even if there's virtually no plot to this follow-up to the 2012 hit 21 Jump Street. Jonah Hill and Channing Tatum revive their amusing double-act to poke fun at sequels and franchises amid silly set-pieces and starry cameos. And it gives filmmakers Phil Lord and Christopher Miller their second terrific comedy of the year, after The Lego Movie.
Following their successful bust of a high school drug ring, undercover officers Schmidt and Jenko (Hill and Tatum) are assigned by their grumpy captain (Ice Cube) to infiltrate a university and track down who's dealing the new drug whyphy. But both get distracted by life on campus: Schmidt begins a romance with Maya (Amber Stevens), while Jenko finds his meathead soul-mate in football teammate Zook (Wyatt Russell). With their partnership in jeopardy, Schmidt and Jenko must refocus on a spring break trip to Mexico, where they discover an old nemesis (Peter Stormare) on the loose.
Using a non-stop series of gags about how follow-up movies are more expensive and less original, the filmmakers go about proving this hypothesis with amusingly overwrought sets and a chaotic, derivative narrative that has very little momentum. Meanwhile, they pack every moment of the film with witty humour that's played expertly by Hill and Tatum, who rekindle their chemistry with a steady barrage of gay double entendre that reveals the movie's true nature as a brom-com. On the other hand, neither the actors nor the filmmakers are willing to push things too far, so they settle for silly vulgarity instead of any black comedy or edgy humour.
Continue reading: 22 Jump Street Review
There's a blast of raucous energy to this lively comedy that sets it apart from the pack; aside from a willingness to get deeply rude and incorrect, the movie is actually very funny. It helps that it's packed with snappy characters and witty dialogue, and that the cast makes the gratuitously vulgar humour come to life in surprising ways.
It opens with happy couple Mac and Kelly (Seth Rogen and Rose Byrne), whose idyllic life with their ridiculously cute baby is interrupted when a frat house moves in next door. They want to be cool about it, so introduce themselves and nicely ask the fraternity leaders Teddy and Pete (Zac Efron and Dave Franco) to keep it down. They even indulge in a bit of partying themselves. But the noise only gets louder, and when Mac and Kelly call the cops in a moment of desperation, they spark a war that escalates into a series of crazy practical jokes. This also gets the fraternity in trouble with their university administrator (Lisa Kudrow), which only fuels the battle.
Director Nicholas Stoller (The Five-Year Engagement) keeps things moving briskly, packing every scene with shamelessly coarse humour. For every joke that falls flat (like a breast-feeding set-piece), there are five more gags immediately following that generate gut-busting laughter. While the plot is little more than a series of elaborate pranks, there's an unstoppable momentum that builds to a riotous party climax. Even more important is the way the actors are allowed to twist their stereotypical characters to add some meaningful subtext.
Continue reading: Neighbors [Bad Neighbours] Review