The plot: Three years after their victory at the a cappella
World Championship, the Bellas are struggling to make their mark in the world
outside of music. However, after they reunite under false pretences, they
decide to go on one last tour and perform for the U.S. troops, taking part in a
competition to win an opening spot for DJ Khaled. However, as they see that the
rest of the bands actually play their own music, it seems that this last hurrah
is going to be the most challenging feat the Bellas have ever faced.
Anna Kendrick is trying quite hard to keep
things held together, and she certainly has the on-screen confidence to make
that work, but she’s also the only member of the Bellas who makes an actual
impact. Or, at least, makes a positive
impact. Brittany Snow and Anna Camp hit the ‘ageing but desperately trying to
escape that fate’ button for all it’s worth, Hana Mae Lee barely even registers
as an on-screen presence, and Hailee Steinfeld flat-out does not register. John Michael Higgins and Elizabeth Banks officially
grind their underhanded colour commentary schtick into the ground and Ruby Rose
continues her track record of being a Sentient Red Flag (yep, another Aussie
actor fits into this category) whenever she gets a speaking role.
Matt Lanter as one of the U.S. soldiers becomes a walking
irony machine, since he’s the guy who played fake Edward in Vampires Suck and
the leads of this film are called the Bellas… and yet somehow, that comparison
is just making me think of something I’d much rather be sitting through.
Namely, because it doesn’t involve John Lithgow doing an atrocious Australian
accent. It really says something when his star has fallen as much as it has
over the last couple years, and this
is easily the worst he’s been in that time. And in case all of this wasn’t a
big enough sign that something is definitely off with this whole thing, the
most engaging actor here? DJ Khaled playing himself. Seriously.
The music here is… completely forgettable. I’m
not entirely sure how we managed to go from the fairly solid standard set up by
the first two films to the point where the musical numbers are the least
interesting thing here. Watching the songs being performed, as nice as some of
the selections are, the Bellas and pretty much anyone else who joins in has
this look of “I don’t want to be here” written all over them. That does a fair
bit to suck out the energy and enthusiasm from those moments, and the
lacklustre direction from Trish Sie doesn’t help either. This is the same woman
who helped give us the highly memorable music videos of OK Go, and yet that
sense of tight choreography and rather bizarre but fitting tone doesn’t
translate here. She also directed the final (hopefully) instalment of the Step
Up franchise with All In, a film that ultimately didn’t turn out that well but
still showed a sense of how to stage those moments.
Here? The recurring mood of the film is that this is when
the Bellas are going to hang up their ascots and give up singing as a career.
That comes through less as a result of experience and more as a result of
apathy. Pitch Perfect took No Diggity and breathed new life into it, to the
point where it made me realise just how bloody good that song is. Pitch Perfect 2 took Muse’s Uprising, an already amazing song, and managed to outclass even
my own lofty regard for the song in question through its performance by Das
Sound Machine. Pitch Perfect 3 takes Britney Spears’ Toxic and repeats it so
many times, both in a cappella and the original version, that I kind of feel
like I’ve fallen out with it. The first two made good songs even better, while
this just takes the fun out of the whole thing.
That must be why the film barely even focuses
on the fact that the Bellas are taking part in yet another musical competition.
Or anything really to do with music at all. Instead, this film takes a very
sharp and jarring turn into something else entirely. It is here where we get
into talking about Rebel Wilson as Fat Amy, and there’s a reason she was left
out of the cast rundown. That lingering fear I had going into the second film
about it just becoming The Fat Amy Movie ends up being realised here, as this
goes from a rather disinterested musical into a full-blown ‘Melissa McCarthy in
Spy’ action film. *SPOILERS*. Turns
out that Amy’s father is a career criminal (one whose actual dealings are barely expounded upon) and he kidnaps
the Bellas to force Amy to get into a bank account her mother opened for her.
She turns up, kicks some ass, and saves them.
Now, given how underwhelming the
supposed crux of this film is, I honestly have no problem with this change-up
on its own. It’s clear that the filmmakers didn’t care about the music side of
things anymore, and anything to distract from how tired everyone else is
looking has to be a plus. However, because Amy is being further characterised
as a pretty awful friend, not to mention sporting some of this film’s more
painful one-liners, that doesn’t work either. This isn’t a character I
particularly care about one way or another, and the fight scenes come off badly
because of that. That, and the fact that the whole “this is suddenly an action
flick” thing only lasts for about 5-10 minutes out of the 93 minute running
time.
You might have noticed a bit of a central theme
with all of these complaints. The listless performances, the aimless story, the
jarring plot developments; there’s a common thread tying all of these together:
These people do not give a shit. At all. There’s a point in the film where the
Bellas get together for a reunion performance at an aquarium… only to be told
that they were meeting up just for the socialising, not to sing. Our leads
being brought back together to “reunite” without the actual sense of reunion is
basically this entire film. What makes this worse is that, on some level, the
film is aware of this. Among the rather trying attempts at humour on offer
here, a lot of it consists of breaking down the series’ conventions like the
Riff-Off and two of the Bellas who have such little presence in the plot that
even they’re surprised that people
remember their names.
There’s even a moment where someone rattles off the usual
block of exposition to set up the music competition, just for one of the Bellas
to out-and-out call it “exposition”. I’ve talked about self-awareness in cinema
before and how it can be quite a valuable asset, but here’s where we meet the
more negative side of things. This is a film that is rather crap, knows that it’s rather crap, and rather
than try and alleviate the problem, is unfortunately comfortable with being
rather crap. If this production is so unsure about whether or not it should
even exist, maybe it just shouldn’t.
All in all, this is absolutely woeful. The acting is bland,
the music goes in one ear and out the other, the direction doesn’t make either
of those problems any easier to sit through, and the script seems to be aware
of how much of a blatant cash-grab this whole thing is and could not care less
if it tried. The trailer already made this look like it was going to be wonky,
since exploding boats aren’t exactly the first thing I associate with the Pitch
Perfect films, but even that couldn’t prepare audiences for how slothful this
entire production truly is. January is usually the dumping ground for whatever
wasn’t fit to get a theatrical release the year prior, and this most certainly
fits the bill in the most disheartening way possible. This is the first film of
the year, so ranking it at this point is astoundingly redundant, but I have a
real feeling that this is going to be a contender for the year’s worst. Prove
me wrong, 2018.
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