Wacky and wonderful, with a second half in particular that’s a non-stop barrage of laugh-out-loud hilarity (see Furby’s “Let the dark harvest begin!” and later, “Mom’s scary now”), wild action (see Linda’s first battle and oil splatter), and waterfall-eye emotion (see the moose and “No, this is easy”). Rounding it out are great visuals (see the cool comic-style add-ons), a uniquely likeable protagonist, and commentary on tech and generational differences that’s funny and ultimately well-rounded.
Self-proclaimed stuntman Rod Kimble is preparing for the jump of his life – to clear fifteen buses to raise money for his abusive stepfather Frank’s life-saving heart operation. (IMDb)
Yeah, I get it, comedy can be subjective, but with the way this film in particular is so endlessly creative and colourful and full of child-like wonder and fun in its quest for the laugh (which maybe could’ve been put on brief pause in Rod’s rock bottoms), I feel particularly called to shield it from from any big ol’ meanies who don’t like it. You do you, Hot Rod. Keep ringin’ those bells, jumpin’ those ramps, coolin’ those beans, singin’ those songs, and kickin’ that ass. You’re funny AF.
When Prince Fabious’s bride is kidnapped, he goes on a quest to rescue her… accompanied by his lazy useless brother Thadeous. (IMDb)
I suppose there’s some humour to be found in throwing crude content and expletives into the typically haughty dialogue and setting of a medieval period piece, but it’s done to such a (literally) gross extent here it wears very thin very quickly, and when even the (bland and suspense-less) main plot is misogynist and centered on sex, the whole film just feels like the adventure fan-fiction of a snickering 15-year old who plays Age of Empires and has porn mags stashed under his mattress.
A process server and his marijuana dealer wind up on the run from hitmen and a corrupt police officer after he witnesses his dealer’s boss murder a competitor while trying to serve papers on him. (IMDb)
A stoner and his dealer get caught up in a drug war and the comedy’s exactly what you’d expect–a combination of “that’s gotta hurt” slapstick (Red is the obvious champ in this area) and loud swear-laden and weed-infused riffs of dialogue. Doesn’t break much new ground but Franco’s dim Saul and Rogen’s straight man Dale have good chemistry and keep you engaged in spite of the mediocre plot. An uproarious improvised epilogue at the diner makes up for the over-the-top gun-happy climax.
Occasionally slips into lackluster-ly standard low-brow humour (dancing aside, Grossman is a bit much, and so was Kirk and Tugg’s convo about Simple Jack), but the satirical meta-movie framework that pervades the film offers loads of laughs, from the uproarious opening trailers, news clips, and initial action sequence (the first act was definitely the best) to the ongoing naivety of Stiller’s action star and stubbornness of RDJ’s method actor as contrasted with Baruchel’s earnest Kevin.
On his latest expedition, Dr. Rick Marshall is sucked into a space-time vortex alongside his research assistant and a redneck survivalist. In this alternate universe, the trio make friends with a primate named Chaka, their only ally in a world full of dinosaurs and other fantastic creatures. (IMDb)
I think it was when Rick, Will, and their ancient primate friend Chaka are chilling in a motel pool in the middle of a dinosaur-populated desert getting high off a weird jungle fruit that I realized this movie was actually kind of good, with its zany mix of campy 50s-esque sci-fi (see the actors in alien suits) and raunchy comedy (Ferrell’s pee-drinking scene had me in stitches), not to mention a few instances of surprisingly appealing visuals (the “cosmic lost and found” scenes especially).
A sausage strives to discover the truth about his existence. (IMDb)
The puns are okay, but the creative anthropomorphic food premise is funniest in its extreme plays on humanity’s physical aspects; namely, death (see the flour shell-shock scene, kitchen massacre) and sex (see the outrageous ending orgy). It swings and misses everywhere else, moving from a promisingly hilarious opening musical number to a swear-overloaded script with nary a clever joke, and a religion-related thesis just as lacking in subtlety. The meta-ending also felt silly and unnecessary.
The celebrities-playing-themselves bit definitely provides some good laughs; funny scenes are made funnier because it’s Jay Baruchel being made fun of, not a character, for example. The six leads are all in good form and the other cameos are solid as well. The outrageous apocalypse plot serves as a good backdrop for the humour but as the story progresses and quasi-religious elements begin to enter the mix, it starts to feel much too silly, tainting an otherwise decent comedy.