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Bad Moms: Caricatures & Cliches Undermine Giddy, Giggly Fun
With more testosterone-fuelled movies like The Hangover and The Change-Up safely under their belt, screenwriters Jon Lucas and Scott Moore return to the big-screen with a slightly different kind of comedy. Featuring three stay-at-home mothers who decide to rebel against the system as a result of being tired and overworked, Bad Moms is an occasionally funny story to sit through, though its reliance on a painfully formulaic setup thwarts the movie from making any kind of lasting impression.
The story is cantered on Amy Mitchell (Kunis); a young mother of two struggling to handle the responsibilities of her daily life. Constantly late to everything, Amy - who has recently kicked her husband, Mike (Walton) out of the house due to infidelity - finally reaches her boiling point and decides to take a step back from her domestic demands and just quits trying to be the perfect mom.
Making friends with sex-crazed single mum Carla (Hahn) and insecure mother-of-four, Kiki (Bell), Amy soon realises that she has forgotten how to have fun, indulging herself in a lot of drinking and lots of flirting with hot widower, Jessie (Hernandez). Her newly-found freedom, however, soon angers PTA Queen-bee, Gwendolyn Jones (Applegate), and her loyal minions, Stacy (Pinkett-Smith) and Vicky (Mumolo), when Amy decides to run against Gwendolyn in the upcoming PTA elections.
It's a shame to see Lucas and Moore resort to such a formulaic storytelling approach, failing, often drastically, to bring any fresh humour or even awareness to modern-day motherhood. Filled with plenty of foul language (for the sake of foul language it seems) and overly-forced sexual humour, the script undermines any kind of statement that the film tries to makes, with the uncircumcised penis monologue the girls have before a night standing as one of the more disturbing moments.
Despite there being plenty of eye-rolling moments, the chemistry between the three main characters is evident and they manage to play off each other wonderfully throughout, with Kunis - although a little too put-together for a supposedly overworked mom - coming out as the strongest of the pack. Meanwhile, the men in their lives are all walking clichés, subjects of predictable writing and are either given very little to do or not given enough screen time to do it.
Unsurprising and largely conventional, though at times funny, Bad Moms tries a little too hard to please and if it wasn't for such lazy writing, this could have been one of the most enjoyable R-rated comedies of the year. But, it isn't.
What can you say about the seemingly unstoppable force that is Nicolas Cage that hasn’t been said before? A magnet for the most troubled, muddled and just generally exasperating films to hit cinemas in the last five years, his latest work in USS Indianapolis: Men of Courage does nothing to change his fortunes.
Despite being based on one a true story that has all the makings of a war epic, the Mario Van Peebles-directed USS Indianapolis bleeds all and any gravitas and emotion out of its incredibly dramatic source material.
The story goes as thus: the eponymous US Navy cruiser delivered the first parts of the atomic bomb that would go on to devastate Hiroshima, before being torpedoed by the Japanese navy, leaving some 300 of the 1000-plus crewmen dead and the rest stranded in shark-infested waters. Said sharks, along with dehydration and salt water poisoning, leave just over 300 survivors to be rescued.
At the centre of the ensuing hubbub is Cage’s Captain McVay, who many, very unreasonably, blame for the death of the 700 or so victims – so you see, it’s a very complex story, but one that very quickly descend into and exercise on how not to make a war film.
The occasional laughable CGI aside, Cage is oddly sedate, bordering on placid, in his role – yes, the central character is possibly the flattest element of the film, while seasoned actors, Tom Sizemore and Thomas Jane, are given little to chew on in their respective roles.
While starting exactly as one would expect a war film to, the wreckage part of the film turns into cheap disaster movie, before turning into a courtroom drama in the final act. It’s a muddle of a film that fails to really drum to the beat of McVay’s potentially brilliant arc as a firm commander that eventually buckles under the unjust pressure he receives back at home.
Bad CGI, a mammoth two hour-plus running time and Nic Cage can be forgiven, but what’s at the heart of this film’s mess is the script. Jumping from event to event, plotline to plotline, at a whim, with Cage’s soft murmured speech used to pave over the transitions, USS Indianapolis’s pacing is that of a film hurrying to stuff as many ideas and threads as possible – expect that’s not the case. Van Peebles tries so hard to build the layers of an epic, when, actually, all he needed to do was tell this simple but stirring story as it is.
Ludicrous, crass but also undeniably fun,Ted 2 - the sequel to Seth MacFarlane’s successful 2012 comedy, Ted –proves to be a more consistent and better drawn-out affair than its predecessor, even if the jokes – which there never seems to be a shortage of– don’t always land where they’re supposed to.
Picking up shortly after the events of the first film, Ted 2 is once again centred on best-buds and avid stoners, John Bennett (Wahlberg) and his talking teddy bear, Ted (voiced by MacFarlane) who, as it turns out, don’t seem to be living out their happily-ever-afters with the women in their lives. See, John has divorced the love-of-his-life, Lori (Kunis), and Ted, who at the beginning of the film shares his “I Do’s” with his human-bride, Tami-Lynn (Barth), is in constant clashes with his new wife.
Deciding that the best way to reconcile and put an end to all the bickering is to start a family, Ted reaches out to his best-friend for help; a decision which soon proves rather messy. However, Ted’s civil rights are soon called in to question by the government who wish to brand Ted as property as oppose to a living thing, leaving John and Ted with no choice but to turn to the rookie – and pot-loving- lawyer, Samantha (Seyfried) for some legal help in an attempt to prove that Ted is a living being with rights of his own. Hence the tagline ‘Legalise Ted’.
Endless pop-culture references and MacFarlane’s distinct brand of abstract toilet humour is once again the integral part of the story. While the first film lent most of its focus on Wahlberg and his romance with Mila Kunis – the actress was written out of the script due to her pregnancy with husband Ashton Kutcher – Ted 2 shifts the focus onto the talking teddy and his battle to be recognised, essentially, as a human.
The decision to shift proves to be a smart move, although the film does tend to take itself a little too seriously at times; in addition, Wahlberg – whose deadpan delivery is almost always spot on – seems to shine more in his secondary role.
Ted 2 is neither ambitious nor smart and its jokes are often offensive and pretty vulgar. Nevertheless, it’s a fun goofy kind of vulgarity that will ensure more box office success and probably even a third film.