The glamourous life of a film critic and spending more time
at the cinemas than I do awake in my own house means that I actually understand
very little of regular human interaction. That said, knowing how awkward social
situations can get to start with, I still understand why meeting the potential
in-laws is as nerve-wracking as it is. In fact, again with my lack of
experience in the matter in mind, it’s possibly the most awkward prospect of
any courtship and the myriad of possibilities (or even just the fear of those
possibilities) can lead to quite a bit of misery. As any good comedian knows,
misery makes for good comedy, and sure enough that scenario has made for pretty
decent rom-com material for many a decade now. Yeah, it may be old hat by now
but it has given birth to some good chuckles in the past. Of course, I didn’t realise exactly how old hat it was
until I sat down to watch this thing.
The plot: Ned (Bryan Cranston), his wife Barb (Megan
Mullally) and their son Scott (Griffin Gluck) have been invited to meet their
daughter Stephanie (Zoey Deutch)’s boyfriend, internet billionaire Laird (James
Franco). In record time, Ned already has a disdain for Laird, which makes Laird
asking him for permission to ask Stephanie to marry him a bit awkward. Laird
promises that, by Christmas Day, he will win Ned over, but Ned isn’t too
hopeful.
The cast here is full of people who are either far better
than this material or are right at home with this stuff. Cranston has been out
of sitcom formation for a while now, but he honestly does pretty well at
portraying the straight-man bewilderment that his character has been saddled
with. Mullally is thankfully far past her high-pitched Will & Grace days of
utter annoyance, but she is still quite abrasive and bland in equal measure.
Deutch, when not making me think that the MILF remarks made are about her actual mother Lea Thompson, is very nice
and quite likeable, bringing some ineffectual but still appreciated grounding
to the events. Gluck is… okay, I guess. Shock humour really doesn’t seem to be
his speed, but he isn’t terrible with it. And then there’s James Franco, whose
foul-mouthed antics can get rather irritating but he has a definite undercurrent
of social awkwardness that, if the film took time out to flesh it out, could
have helped save the film. Hey, in something this crass, I’ll take ill-utilised
potential over nothing.
Comedy is subjective, and no experience rams that point home
more than going to see a comedy film in the cinema. Specifically, if you’re the
only person who isn’t laughing. While I could just chalk this up to being not
my kind of comedy, and I admittedly can be rather picky when it comes to what I
laugh it in films, I can’t help but feel that the comedy here is just bad. And
oddly enough, it all starts with the house where the majority of the film takes
place. It’s basically one giant meme of a house, with contextless jokes
plastered onto the walls like paintings of animals humping and interpretative
art meant to symbolize sex. Then there’s the big set piece of the living room,
which is literally a stuffed moose floating in a jar of its own urine. A corpse
marinating in its own filth; fitting metaphor for the film itself, quite
frankly. As for what goes on inside the house, it doesn’t even manage to do
basic simile humour, instead going even more primitive and thinking that sex,
nudity and literal toilet humour on its own is funny. It’s all so incredibly
feeble and cringe-inducing in the worst way that I can’t even feel bad for not
finding it as funny as the rest of the audience apparently did because I have
no desire to ever find this shit amusing.
When it comes to father vs. boyfriend antics, one of the
more recent trends is to make the father appear out-of-touch with modern
conventions like technology. And by “recent”, I mean over a decade old because
that is how tired this premise is. Director/co-writer Josh Hamburg’s most
widely-known work is with the Meet The Parents trilogy, and even when the first
film came out in the year 2000, this would’ve felt weak. Already starting on a
bad footing, it doesn’t even manage to convey it in any way competently. It
basically just amounts to making fun of how Ned doesn’t understand the Internet
and lightly mocking him for it, combined with how much Laird lives and breathes
technology. Where this gets interesting (and not in a good way) is how while
the film is more than willing to make fun of Ned for being behind the times,
the film itself seems to be in the same boat. And no, I don’t just mean that
because of the tired nature of the joke itself; I mean that because Hamburg and
co. don’t seem to know that much about techie culture themselves. Don’t get me
wrong, I like how they chose to highlight a more contemporary and realistic
brand of geek, but when it’s surrounded by this much nothing, it’s little more
than an admirable failure.
So, the comedy sucks and the writing is embarrassingly
antiquated; what about the characters? Well, it really says something when
Stephanie is easily the most likeable character here and even she comes across badly. She, Ned and
Laird are probably the best defined, but even then they just fall into genre
character clichés; everyone else are just conduits for the so-called comedy.
When they’re together, they just imitate Christmas family dysfunction without
any sense of relatability or even dark fun, to the point where the story being
set around Christmas feel tacked on all on its own. Not only that, the film
makes it a point to tease potentially interesting characters like the socially
awkward Laird, but substitutes actual development for being just told what his
background is and why we should feel sorry for him. Kind of difficult to do
when the film seems determined to just parade around loathsomeness for the
whole world to see. It doesn’t even end on that fulfilling a note either as,
amidst a KISS cameo for… reasons, Ned and Laird do the usual rom-com wrap-up by
concluding that they both fucked up. Unfortunately, it’s brought about through
a combination of shaming, a hefty bail-out check and an admission that the
entire impetus for the plot, that being Laird wanting Ned’s blessing to marry
his daughter, was the cause of all the chaos and probably shouldn’t have been
done in the first place. You know a film’s bad when it openly admits that its
own premise is stupid.
All in all, the only thing I can be thankful for here is
that I watched this a few days removed from the Christmas season because this
is a big stocking full of coal-shaped excrement. It doesn’t even rank as actual
coal, because that would imply that this bloody thing is useful. The actors are
seriously trying to make this film work, and there are admittedly a couple of
moments that got a laugh out of me, but this is just another instance of a film
failing from its main concept downwards. Everything from the jokes to the
characters to the plot itself is forced and incredibly dated, making for a
fairly unpleasant viewing experience.
No comments:
Post a Comment