The first five minutes of The Change-Up—a horrifying look into the world of late-night baby care complete with one of the more grotesque poop-to-face shots ever captured on film—sums up the movie's bait-and-switch. In most comedies this scene would be the first step towards a descent into hell that only Paul Blart: Mall Cop and Adam Sandler are capable of realizing. In The Change-Up it's a sequence that sets the bar as low as artistically possible so stars Jason Bateman and Ryan Reynolds can obliterate expectations with equally raunchy shocking and hilarious comedic stylings. Simply put The Change-Up is the funniest movie of the year.
Bateman plays Dave Lockwood a run-of-the-mill lawyer who works too hard juggles his parenting duties and struggles to find time to tell his wife he loves her. Dave's best friend Mitch (Reynolds) couldn't be more of the opposite—sleeping all day and spending his conscious hours wooing sexual partners while stoned out of his mind. The two are polar opposites making them the perfect candidates for a little bit of switcheroo magic. One particularly devastating night of alcohol and lamenting life's woes ends with the duo taking a leak into a magical fountain (go with it). Fate of course intervenes and when Dave and Mitch wake up they find themselves trapped in the one another's bodies.
There's no denying The Change-Up follows the Freaky Friday formula—but that's not a fault. The logic is already established giving Bateman Reynolds and director David Dobkin (Wedding Crashers) freedom to jump right into the crass humor hook. Bateman who's becoming a go-to straight man in Hollywood finds a refreshing opportunity in inhabiting Reynold's Mitch. The character's lack of self-censorship opens the floodgates for Bateman to poetically surface some of the English language's more horrendous sentences. A slang dictionary may be required to understand what bizarre body part synonyms are being dropped at rapid pace in this movie. Whether you comprehended them or not when they come out of Bateman's mouth they're priceless.
Same goes for Reynolds who escapes the box of fast-talking womanizer to play the uncomfortable family man. Judging an actor's versatility on a scene in which he's unwillingly placed at the center of a "lorno" (read: low-budget soft core pornography) may seem twisted but Reynolds sells it and makes it perfectly agonizing. Even obvious scenarios like "uh oh Dave's going to have to cheat on his wife in Mitch's body!" are twisted once twice three times over to pull the rug from under you.
The biggest surprise of The Change-Up is the movie's heart. Pummeling an audience with jokes is one thing but to sell genuine relationships underneath it makes it satisfying. The wavering friendship between the two lead knuckleheads is tangible and keeps an impossible plot device grounded while Leslie Mann (Knocked Up Funny People) as Dave's wife Jamie has her fair share of tender moments (as well as devilish laughs—there's a reason her husband Judd Apatow keeps casting her). In a movie that's constructed by textbook rules to have an ending that resonates with any sort of emotion is as surprising as watching a grown man toss a baby down next to a set of steak knives. Which coincidentally also happens in the movie.
In today's world where anything goes it's hard to whip up slapstick and one-liners that feel edgy and that leave your jaw on the floor. That's how The Change-Up hits—and it hits hard.
Poor Donna Keppel (Brittany Snow). Some years back her parents and brother were slaughtered by Richard Fenton (Jonathan Schaech) a teacher who had developed a psychotic fixation on her. Richard went to an insane asylum but he broke out and now he’s back in town just in time for Prom Night where he resumes his pursuit of Donna and knocks off some of her friends for good measure. Bringing up the rear is dogged Detective Winn (Idris Elba) desperately trying to nail Fenton as the body count mounts. Sooner or later--and it’s much later unfortunately--Donna will come face to face with Fenton one last time. With characters as one-dimensional and dumb as these there’s not much the cast can do except stand around in their prom outfits waiting to get killed off. As the deranged killer Schaech stares glares and skulks around. Leading lady Snow widens her eyes and worries accordingly throughout while Elba tries to inject a little intensity into the stock role of the cop on the case. Working from a bad screenplay by J.S. Cardone first-time helmer Nelson McCormick displays little enthusiasm--either for the genre or for this particular film. The scare tactics are hackneyed and usually involve characters surprising each other--a gag that gets really old really quickly. When one character mutters “This is getting silly. Enough already ” we couldn’t agree more. And we’d add “boring” to that statement. It should be noted however that there’s an awfully high body count for a film rated PG-13 even if the film isn’t as bloody as one might expect. McCormick and Cardone have re-teamed on the upcoming remake of The Stepfather and if their collaboration here is any indication horror fans may have reason to be afraid--very afraid.