Jon Lucas and Scott Moore's The Hangover successfully translated the "one crazy night" into an absurdist thriller and, more importantly for the writing duo, a mega-hit. For their directorial debut, 21 & Over, the two adapt their manchild mystery for the college crowd nearly beat for beat, substituting laughably idiotic adults for the saddest trio of bros ever brought to screen. The characters in the film spew profanity, race jokes, anti-women ideology, and pop culture non sequiturs (who doesn't love a Shrek joke?) all in the name of "having a great time." This can work — Superbad stands as proof. Instead, the script for 21 & Over scrapes the bottom of the barrel then shotguns it into our faces, amounting to a cesspool of unfunny that will likely breed a new generation of douchebags if (when?) it's taken in by impressionable youngsters.
RELATED: Watch the Debaucherous '21 and Over' Trailer
A college senior with high aspirations of chugging beers and getting laid, Miller (Miles Teller) arrives to town to meet his two best high school pals, Casey (Skylar Astin) and Jeff Chang (Justin Chon), for the latter's 21st birthday. Jeff insists they stay in — the next morning is his big medical school interview — but no, Miller insists that friends don't let friends go uncelebrated. "I am going to f**k you with alcohol," Miller proclaims with terrifying authority. And so the adventure begins: what starts as a round of beers explodes into a rampage through the college campus bar scene. When Jeff slow-motion vomits while riding a mechanical bull (an expulsion repeated four times over), the friends decide it's finally time to go home. Except, they have no idea where home is.
With Jeff blacked out, Miller and Casey set off to find someone who has a clue. All of the answers have a road block; hoping to find their friend Nicole (Sarah Wright), the men sneak into a Hispanic sorority. Focus becomes their biggest dilemma after Miller and Casey stumble upon two new pledges waiting to be "punished" by their "Pledgemistress." Who can resist spanking two co-eds under the guise of hazing? These two can't. When they're discovered, they run to their next insane scenario, Lucas and Moore turning the Hispanic sorority girls into 21 & Over's version of the Hangover gangsters. It wouldn't feel as offensive as it does if the reasoning and execution wasn't clunkier than drunk Jeff Chang walking on two feet.
21 & Over's great offense is its complete misuse of two great young actors. Since Rabbit Hole, Teller has honed a keen sense of timing in both drama and comedy, while Astin impressed with charm and wit in Pitch Perfect. Here, Lucas and Moore fill their leads' mouths with cheap dialogue, a type of lowbrow insight that makes Tucker Max look like Henry David Thoreau. Beyond their cookie cutter characters (Miller can't stop clinging to high school; Casey doesn't know how to cut loose and have fun), the two bark quips at one another that would immediately drive any normal human beings apart. Miller digs at Casey for not recalling Nicole's sorority letters because they were on her shirt, and clearly, if he was a man, he should be staring at her chest. Nicole even belittles Casey for his inability to party — apparently his passion for NPR and dream of a job after college are misguided. Dude, take a shot! That's what life is about.
RELATED: '21 And Over': Even Miles Teller Is Surprised At How Naked He Got
Teller and Astin do make the whirlwind of hate palatable, but never funny. The only laughs come from a pack of male cheerleaders, whose conception as another angry group chasing Miller and Casey seems to be an excuse to crack a Karate Kid joke. Late in the game, 21 & Over reveals its dramatic undertones and that's when it crosses the line from inane to morally irresponsible. Lucas and Moore want to challenge their 21-year-old protagonists. Instead, they let them off the hook. There are no consequences for the people in this movie. There are no rude awakenings. Our heroes threaten people with guns, decimate a college quad while outdriving the cops, and eventually punch Jeff Chang's dad in the face, but they're in the right. If we were laughing at them as they destroyed their lives, that might be entertaining. Instead, 21 & Over is just a boring lesson in why beer pong and one-night stands should be the number one priority in life.
What do you think? Tell Matt Patches directly on Twitter @misterpatches and read more of his reviews on Rotten Tomatoes!
[Photo Credit: Relativity Media]
On her 40th birthday Madam Wu (Luo Yan) the head of one of the largest households in town announces she has acquired a second wife for her husband. Get this: Madame Wu feels that she is too old and Lord Wu (Shek Sau) deserves a wife more capable of satisfying his physical needs. Chiuming (Yi Ding) a young peasant girl is quickly married to the lord freeing Madame Wu from the wifely duties of her loveless marriage. She turns her attention to Andre (Willem Dafoe) her son's tutor and an American priest and doctor who runs the local orphanage. Of course Andre's overwhelming benevolence enamors Madame Wu and Western ideals and their friendship quickly escalate to a forbidden love affair. The lovers are tragically torn apart by the invasion of Japanese troops and Andre is forced to make the ultimate sacrifice to save the helpless community.
Although Pavilion is touted as a period Chinese film the actors speak colloquial English and it is hard to dismiss the stilted dialogue that sounds like it has been dubbed from a bad kung-fu movie. This aside leads Luo Yan and Willem Dafoe give solid performances and but cannot salvage the banality of the script. Yan an accomplished actress who also co-wrote and produced the film graces the screen with the sincerity of a woman who has quietly endured pain her whole life and has finally been freed. Dafoe tackles the role of the Great White Hope like a true professional but at times it looks as if he's wondering what the heck he's gotten himself into as in scene after scene he plays with dirty-faced orphans with a goofy grin on his face. The cast is rounded out by a host of one-dimensional characters like Lord Wu the fellatio-starved stereotypical patriarch; Chiuming the reluctant concubine and Fengmo (John Cho) the rebellious son who falls in love with Chiuming and runs off to join the Communist Army. Comic relief is attempted by Amy Hill and Koh Chieng Mun.
Based on a 1946 Pearl Buck novel Pavilion lacks the sophistication of Chinese films like Farewell My Concubine or Crouching Tiger Hidden Dragon. Hong Kong director Yim Ho handles the clichéd script with little subtlety and punctuates emotional high points of the story with an over-the-top ear-splitting musical score. At one point Andre even pulls out his Puccini record and hits us over the head pointing out the tragedy of similar star-crossed lovers in the opera Madama Butterfly. We've all seen this before and Pavilion falls short by not bringing anything new to the table.
Moviegoers celebrated "Mummy"'s Day this weekend with a record setting $70 million opening.
Universal's PG-13 rated adventure sequel The Mummy Returns kicked off Hollywood's pre-summer season with a staggering ESTIMATED $70.11 million at 3,104 theaters ($20,615 per theater). Mummy accounted for about 65% of the weekend's total key films gross of $107.5 million.
Mummy is well on its way to what looks like it could be a $200 million gross in domestic theaters. That would be about $45 million more than the first Mummy did domestically in 1999.
Mummy goes into the record books as the biggest three day non-holiday opening ever, beating the record set by 20th Century Fox and Lucasfilm's Star Wars: Episode One -- The Phantom Menace with $64.81 million the weekend of May 21-23, 1999, at 2,970 theaters ($21,822 per theater). Having opened on a Wednesday, Phantom Menace's cume for five days was $105.7 million.
The 1999 original The Mummy opened to $43.4 million the weekend of May 7-9 at 3,209 theaters ($13,515 per theater). In its second weekend it fell 43% to $24.86 million at 3,226 theaters ($7,705 per theater). Its cume after 10 days was $80.6 million. Mummy went on to do $155.2 million domestically and $258.1 million internationally for a worldwide total of $413.3 million. In its third weekend, Mummy was knocked down to second place by the blockbuster arrival of Phantom Menace.
Mummy Returns's average per theater was the highest for any film playing in wide or limited release this weekend.
Written and directed by Stephen Sommers, Mummy stars Brendan Fraser and Rachel Weisz. It also features an appearance by wrestling star The Rock. The Alphaville Production was produced by James Jacks and Sean Daniel and executive produced by Bob Ducsay and Don Zepfel.
"Except for Lost World, which was a holiday weekend, it's the greatest opening ever," Universal distribution president Nikki Rocco said Sunday morning. Universal's The Lost World: Jurassic Park opened in 1997 to $74.7 million for the three day weekend portion of the four day Memorial Day holiday (May 23-26) weekend.
"What we did was we went into the history of Universal and we created a franchise that we truly believed could dominate the marketplace," Rocco explained. "We took a piece of Universal's history and created an unbelievable franchise. With appropriate sequel management, we brought back the cast, we brought back the director, we managed the cost and we had a great story. That's what made this so unique.
"Our exit polls are 90% in the Top Two Boxes (excellent and very good) and a 70% Definite Recommend. That's huge."
The film's PG-13 rating, she added, "broadened the base. Because of the fact that it's a bit fantasy, parents and kids alike can enjoy it. There's no blood. It's part of comic book fantasy. This is a picture that's an absolute thrill ride that will certainly have tons of repeat business."
Universal's 1932 classic The Mummy, directed by Karl Freund and starring Boris Karloff, was a horror film. So were the studio's continuation of the Mummy story in the 1940s in such films as The Mummy's Hand, The Mummy's Tomb, The Mummy's Ghost and The Mummy's Curse.
"They were horror films," Rocco noted. "That's what's so unique about how we built the franchise. We took a piece of the history and created this whole new thing."
Assessing the film's impact in the marketplace, Rocco observed, "We kicked off summer early. We reinvigorated the marketplace to record breaking numbers (of about $107.5 million for key films). Last year was a record (for this weekend) of $82.2 million. We also hold the biggest Friday opening with $23.4 million and the biggest Saturday opening with $26.8 million." Those are the biggest ever for any Friday or Saturday, she said, adding that "Lost World did $21.9 million on Friday."
Warner Bros. and Franchise Pictures' PG-13 rated action drama Driven fell one notch in its second week to a slower ESTIMATED $6.06 million (-50%) at 2,905 theaters (theater count unchanged; $2,084 per theater). Its cume is approximately $21.6 million.
Directed by Renny Harlin, Driven stars Sylvester Stallone. It was produced by Elie Samaha, Stallone and Harlin and written by Stallone.
Bridget Jones's Diary, the R rated romantic comedy co-financed by Miramax Films, Universal Pictures and StudioCanal and produced by Britain's Working Title, slid one peg to third place in its fourth week with a still attractive ESTIMATED $6.0 million (-20%) at 2,547 theaters (+15 theaters; $2,355 per theater). Its cume is approximately $44.7 million, heading for $55-60 million in domestic theaters.
Directed by Sharon Maguire, Bridget stars Renee Zellweger, Colin Firth and Hugh Grant.
Having only cost about $25 million to produce, Bridget will be profitable for its financing partners.
Dimension's PG rated family appeal thriller Spy Kids fell one rung to fourth place in its sixth week with a less playful ESTIMATED $4.0 million (-31%) at 2,815 theaters (-290 theaters; $1,420 per theater). Its cume is approximately $98.5 million, heading for $105-110 million in domestic theaters.
"It should hit $100 million by next weekend," Miramax senior vice president, marketing David Kaminow said Sunday morning.
With a production cost of only $35 million, Spy Kidswill be very profitable for Dimension.
Written and directed by Robert Rodriguez, Spy Kids stars Antonio Banderas and Carla Gugino.
Paramount Pictures' R rated suspense thriller Along Came A Spider dropped one slot to fifth place in its fifth week with a quieter ESTIMATED $3.8 million (-32%) at 2,573 theaters (theater count unchanged; $1,477 per theater). Its cume is approximately $60.0 million, heading for $65-70 million in domestic theaters.
Directed by Lee Tamahori, Spider stars Morgan Freeman and Monica Potter.
"It's where we had it pretty much targeted," Paramount distribution president Wayne Lewellen said Sunday morning.
"I had it in the low $60 millions originally. I think it has a shot to get into the higher $60 millions (like) $67 or $68 million. If it continues to hang on at this level, it could get even closer to $70 million."
Spider is the prequel to the 1997 hit Kiss the Girls, which did $60.5 million in domestic theatrical release.
Paramount's PG rated sequel Crocodile Dundee in Los Angeles skidded one rung to sixth place in its third week with a dull ESTIMATED $3.2 million (-31%) at 2,141 theaters (+17 theaters; $1,495 per theater). Its cume is approximately $18.0 million.
Directed by Simon Wincer, Crocodile stars Paul Hogan.
New Line Cinema's R rated drama Blow fell one step to seventh place in its fifth week with a quiet ESTIMATED $2.4 million (-28%) at 1,558 theaters (-155 theaters; $1,540 per theater). Its cume is approximately $44.2 million, heading for $50 million in domestic theaters.
Directed by Ted Demme, Blow stars Johnny Depp and Penelope Cruz.
Columbia Pictures PG-13 rated youth appeal comedy Joe Dirt, which was ninth last week, tied for eighth place in its fourth week with a slow ESTIMATED $1.5 million (-45%) at 1,783 theaters (-701 theaters; $841 per theater). Its cume is approximately $24.7 million.
Directed by Dennis Gordon, Joe stars David Spade.
Sony's Screen Gems division's R rated vampire tale The Forsaken, which was eighth last week, tied for eight place in its second week with a calm ESTIMATED $1.5 million (-50%) at 1,514 theaters (theater count unchanged; $991 per theater). Its cume is approximately $5.2 million.
Written and directed by J.S. Cardone, Forsaken stars Kerr Smith and Brendan Fehr.
There was a close race for tenth place based on studio ESTIMATES Sunday morning.
USA Films' R rated comedy drama One Night at McCool's, which was 11th last week, in its second week did a slow ESTIMATED $1.33 million (-47%) at 1,814 theaters (-4 theaters; $734 per theater). Its cume is approximately $4.7 million.
Directed by Harald Swart, McCool's stars Liv Tyler, Matt Dillon, John Goodman, Paul Reiser and Michael Douglas.
New Line Cinema's R rated comedy drama Town & Country, which was seventh last week, in its second week did a depressing ESTIMATED $1.3 million (-58%) at 2,222 theaters (theater count unchanged; $576 per theater). Its cume is approximately $5.2 million.
Directed by Peter Chelsom, Town stars Warren Beatty, Diane Keaton, Andie MacDowell, Garry Shandling, Jenna Elfman, Nastassja Kinski and Goldie Hawn.
This weekend also saw the arrival of Universal's Pavilion of Women, arriving quietly to an ESTIMATED $0.016 million at 7 theaters ($2,312 per theater).
Directed by Yim Ho, Women stars Willem Dafoe and Luo Yan.
Columbia held 766 national sneak previews Saturday night of its PG-13 rated pre-summer youth appeal adventure A Knight's Tale.
The studio said Sunday morning that the sneaks were 75% full and generated very encouraging exit polls. Those on hand scored the film 85% in the Top Two Boxes (excellent and very good) with an 80% Definite Recommend. Columbia said the audience was divided evenly between males and females and those under and over the age of 25.
Tale opens May 11 at 2,800-plus theaters.
Written and directed by Brian Helgeland, Tale stars Heath Ledger.
On the expansion front, this weekend saw Newmarket's R rated film noir thriller Memento widen in its eighth week, still holding well with an ESTIMATED $1.29 million (+1%) at 410 theaters (+86 theaters; $3,140 per theater). Its cume is approximately $8.4 million.
Directed by Christopher Nolan, it stars Guy Pearce, Carrie-Anne Moss and Joe Pantoliano.
Columbia went wider with its R rated thriller The Tailor of Panama, continuing to hold well in its sixth week with an ESTIMATED $1.0 million (+7%) at 436 theaters (+77 theaters; $2,249 per theater). Its cume is approximately $9.4 million.
Directed by John Boorman, Tailor stars Pierce Brosnan and Geoffrey Rush.
Lions Gate Films' R rated drama Amores Perros went wider in its sixth week with a quiet ESTIMATED $0.3 million (-41%) at 184 theaters (+11 theaters; $1,610 per theater). Its cume is approximately $3.4 million.
Directed and produced by Alejandro Gonzalez Inarritu, Perros stars Emilio Echevarria and Gael Garcia Bernal.
Warner Bros.' PG-13 rated comedy The Dish added theaters in its eighth week, continuing to hold well with an ESTIMATED $0.16 million (+5%) at 82 theaters (+22 theaters; $1,951 per theater). Its cume is approximately $1.3 million.
Directed by Rob Stich, The Dish stars Sam Neill and Kevin Harrington.
Miramax's R rated French thriller With a Friend Like Harry... continued to widen in its third week with a still encouraging ESTIMATED $0.16 million at 25 theaters (+13 theaters; $6,400 per theater). Its North American cume is approximately $0.6 million.
Harry is being released under Miramax's French film banner Miramax Zoe.
Directed by Dominik Moll, it stars Laurent Lucas, Sergi Lopez, Mathilde Seigner and Sophie Guillemin.
Artisan Entertainment's controversial unrated The Center of the World added theaters in its third week with an okay ESTIMATED $0.12 million at 32 theaters (+24 theaters; $3,885 per theater). Its cume is approximately $0.3 million.
Directed by Wayne Wang, it stars Molly Parker and Peter Sarsgaard.
Key films -- those grossing more than $500,000 -- took in approximately $107.46 million, up about 30.7% from the comparable weekend last year when key films grossed $82.22 million.
This weekend's key film gross was up about 71.67% from last weekend this year when key films did $62.60 million.
Last year, DreamWorks' opening week of Gladiator was first with $34.82 million at 2,938 theaters ($11,851 per theater); and Universal's third week of U-571 was second with $7.77 million at 2,701 theaters ($2,875 per theater). The top two films one year ago grossed $42.6 million. This year, the top two films grossed an ESTIMATED $76.2 million.