Category Archives: Judd Apatow

#216 Favorite Film, 2011 Films, Ben Falcone, Chris O'Dowd, Comedy, Favorite Film of the Year, Jill Clayburgh, Jon Hamm, Judd Apatow, Kristen Wiig, Maya Rudolph, Melissa McCarthy, Paul Feig, Rebel Wilson, Romantic Comedy, Rose Byrne, Terry Crews, Tim Heidecker, Top 250 Films

Bridesmaids-2011

Leave a comment

Bridesmaids-2011

Director Paul Feig

Starring Kristen Wiig, Maya Rudolph

Top 250 Films #216

Scott’s Review #784

Reviewed July 6, 2018

Grade: A

Despite the raunchy romantic comedy genre not being my favorite, and despite not being such a fan of Judd Apatow (famed producer of several of these types of films), Bridesmaids (2011) is easily the best of its kind.

Influential in a multitude of female empowerment-themed comedies that followed, this one is witty, genuine, and funny because of its star, Kristen Wiig, who also co-wrote the film.

It is one of the best comedies (if not the best) of the decade.

Apatow is known mainly for producing comedy films that mix in the standard potty humor for cheap laughs. He is responsible for This Is 40 (2012) and Trainwreck (2015), both of which I found moderately funny, but they are also needlessly gross-out and tired.

My point is that minus the talents of Wiig (both in front of and behind the camera), Bridesmaids would likely have been mediocre like these films. Instead, Bridesmaids is a wonderful, uproarious experience with a star who captures a moment.

My one gnawing gripe is that a woman shouldn’t direct a film about women.

Annie (Wiig) has been asked to serve as the maid of honor at her best friend, Lillian’s (Maya Rudolph), upcoming wedding. Rather than being thrilled, Annie is depressed due to an ongoing string of bad luck.

Her bakery business fails, she loses her unfulfilling job at a jewelry store, she is dating a jerk (Jon Hamm), and her car is about to die. She has difficult roommates and is on the verge of having to move back in with her mother at age thirty-five.

The story hilariously follows Annie’s rivalry with Helen (Rose Byrne), Lillian’s soon-to-be husband’s boss’s controlling wife. Helen is intent on taking over the handling of the wedding events, much to Annie’s chagrin.

The ladies compete to one-up each other throughout the film- Rose is the perfect princess for Annie’s grit and cynicism.

Annie struggles through her issues, unhappy with the state of her love life, when she meets police officer, Rhodes (Chris O’Dowd), and they begin a tender friendship. However, their attraction is put to the test because of Annie’s shenanigans.

Annie must then fly to Las Vegas with the other bridesmaids despite being terrified of flying.

Despite the story being nothing not seen dozens of times before in romantic comedy history (the setups), the film is a laugh-out-loud riot. In addition to Wiig, Rudolph, and Byrne, the remaining cast of ladies all have tremendous chemistry with each other.

Special kudos go to Melissa McCarthy in her fearless role of Megan, a tomboy misfit who somehow is part of the wedding party. With her “tell it like it is” attitude, the actress sinks her teeth into this fabulous role without taking it too far across the line into ridiculousness.

In rip-roaring fashion, multiple scenes are permanently etched in my mind.

After Annie suggests a Brazilian steak restaurant for lunch, followed by a fitting at a chic dress shop, the girls suffer from food poisoning. This results in torrents of diarrhea scenes and one unlucky character being reduced to going to the bathroom in the middle of the street.

The scene, while super raunchy, is hilarious and fraught with perfect comic timing.

Not to be outdone, the airplane scene is equally tremendous; however, the scene belongs to Wiig rather than the entire ensemble. Being forced to fly coach while everyone else is treated to first-class, Annie unwisely accepts a pill from Helen to calm her during the flight.

Instead, Annie becomes belligerent and wild when she mixes the sedative with alcohol.

As good as the supporting cast is, Wiig owns the film through and through. Every scene she is in and each line she utters is perfectly timed. The fact that Wiig did some improvisation (the scene in the jewelry store) is evident and only adds to the genuine feel of the film.

Subsequently, to Wiig’s credit, she has been careful to choose more complicated roles to avoid the risk of being typecast. And a sequel was wisely never made- this would have ruined the appeal.

Bridesmaids (2011) is an authentic story rich with hilarity and crisp dialogue. The film is enhanced in that it’s a female-centered film written by women (though the direction and producers, too, would have been better).

Because of the tremendous cast led by Wiig, the film is blazing with humor and led a firestorm of similar “girl power” films (mostly bad) well into the decade.

Oscar Nominations: Best Supporting Actress-Melissa McCarthy, Best Original Screenplay

2022 Films, Amy Schumer, Ben Stiller, Billy Eichner, Bowen Yang, Comedy, Debra Messing, Harvey Fierstein, Judd Apatow, Kenan Thompson, Kristin Chenoweth, LGBTQ+ Comedy, LGBTQ+ Films, LGBTQ+ Romantic Comedy, Luke Macfarlane, Nicholas Stoller, Romantic Comedy, Seth Meyers

Bros-2022

Leave a comment

Bros-2022

Director Nicholas Stoller

Starring Billy Eichner, Luke Macfarlane 

Scott’s Review #1,304

Reviewed October 5, 2022

Grade: A

Even if Bros (2022) were a bad film, it would still hold the monumental distinction of being the first LGBTQ+-themed romantic comedy released and supported by a major distributor.

In 2022, years after the legalization of same-sex marriage in the United States and various other milestones that would take too long to list, Bros is the first of its kind.

Fortunately, Bros is not a poor film but an exceptional one with brazen confidence and a lot to say.

Led by crisp and intelligent dialogue, lovable lead actors, a cast comprised solely of the LGBTQ+ community, strong characters, and hilarious moments, it has something for everyone, whether gay, straight, or otherwise.

Before readers pigeonhole the film as one only to be seen by the  LGBTQ+ community, I will cry bullshit.

Straight audiences will fall in love with the characters and learn valuable lessons about stereotypes and deep-seated emotions of gay men who are not always comfortable in their skin.

Unfortunately, Bros was not the box office smash hit the studio had hoped it would be. Some straight viewers felt the film was not for them, and that’s a shame.

There is still more work to be done to eliminate conscious and unconscious bias and educate others to embrace differences.

Billy Eichner, who co-wrote the Bros screenplay along with director Nicholas Stoller, stars in the film, alongside Luke Macfarlane.

Eichner plays a sardonic, gay Jewish male named Bobby Leiber who resides in New York City.  We meet Bobby while he is recording another episode of his New York podcast and radio show, The Eleventh Brick at Stonewall, where he talks to callers about his written works on gay history and gay icons.

He claims to be okay with being single and not having found love, instead hooking up with random men through a dating application called Grindr, although he is successful in his career and has good friends.

He awkwardly meets Aaron Shepard (Macfarlane), a hunky, masculine guy deemed ‘hot but boring’ by those in Bobby’s circle, in a gay club.

The two men slowly develop a romantic relationship despite their commitment problems and hectic schedules, which seem designed to put the kibosh on love.

Despite all the other aforementioned wins, what makes this LGBTQ+ film stand out is that the screenwriting feels fresh and intelligent. Above all else, it wisely paints the struggles that most gay men seeking a relationship of substance face.

As in other romantic comedies, specific setups and situations create conflict that risks preventing Bobby and Aaron from getting together. Bobby feels Aaron is out of his league, preferring other muscular men to his overbearing and critical approach.

One can understand Bobby’s angst, but in one of the film’s most poignant and beautiful scenes, Aaron tearfully reveals that Bobby constantly challenges him, and it feels good.

He needs to be with Bobby because it is right. Bobby serves as a mentor to Aaron as he wrestles with being true to himself. Stuck in a depressing yet financially secure job, Aaron longs to be a chocolate maker instead.

Beauty is only skin deep. Regardless of occasional insecurities, the two men are firmly connected, and that beats everything else.

On a personal level, both characters resonated with me, evoking their angst. One would assume that Aaron the hunk would be more confident, but is that the case? Both men teach and learn from each other, which makes their relationship powerful.

In addition to the romantic moments, Bros has its share of raunchy and comical scenes, which justify its ‘R’ rating. In typical Judd Apatow (the film’s producer) form, the sex scenes are revealing.

There are enough orgies, toe-sucking, and fist-sucking to make the prudish blush. The planned ‘rimming’ scene was cut from the final cut. One wonders what that would have been like.

The film follows a distinct comedy formula and includes a helping of standard annoying, clueless, or over-the-top colorful characters that appear to justify its mainstream comedy placement.

The genius is that Bros works.

I implore straight audiences to give the film a chance, if for no other reason than to show that gay people are as different from each other as apples and oranges. As Bobby makes clear, some are nice and some are assholes.

Bros (2022) treads conventional but with a twist, and shows that gay characters are as genuinely funny as straight characters. It provides laugh-out-loud moments and teary sentimental ones.

I’m eager for the next project from Billy Eichner.

2005 Films, Anne Fletcher, Catherine Keener, Comedy, Elizabeth Banks, Jane Lynch, Jonah Hill, Judd Apatow, Kevin Hart, Leslie Mann, Mindy Kaling, Paul Rudd, Romantic Comedy, Seth Rogen, Steve Carell, Stormy Daniels

The 40-Year-Old Virgin-2005

Leave a comment

The 40-Year-Old Virgin-2005

Director Judd Apatow

Starring Steve Carell, Catherine Keener, Paul Rudd

Scott’s Review #1,214

Reviewed December 31, 2021

Grade: B-

I am not a fan of director/producer Judd Apatow. His brand of silly comedy that includes objectification of women, homophobic language, and plain old unfunny attempts at slapstick comedy doesn’t go very far or sit particularly well with me.

His directorial debut is The 40-Year-Old Virgin (2005) which contains a fresh feeling and would ultimately lead to less worthy efforts like Knocked Up (2007) and This is 40 (2012).

Admittedly, the title alone had me and many others brimming with curiosity.

The freshness is mostly because of leading actor Steve Carell in a role that would propel him to film stardom and much better roles in the future.

So, I guess The 40-Year-Old Virgin deserves credit for that.

Typically, in Apatow’s films, the female characters are written as uptight, shrewish, and bitchy whereas the male characters are goofy and fun-loving. The audience is ‘supposed’ to root for the men and dislike the women.

The 40-Year-Old Virgin is no exception.

Still, the film does have a sweet-natured and innocent feeling amid the stereotypes, potty jokes, and obscenity that lie within. We root for the underdog to succeed in life and champion his plight despite it being a carnal and sexual one.

Andy Stitzer (Carell) is a tender yet socially inept man who works a lowly job at a big-box store. Single and living alone, 40-year-old Andy whiles away the days playing video games and admiring his action-figure collection. He is your classic, lovable nerd.

He harbors an embarrassing secret.

Despite his age, Andy has never engaged in sex, so his friends, including his closest friend David (Paul Rudd), encourage Andy to lose his virginity.

While attempting to get over his awkwardness around female customers, Andy meets a local shop owner Trish (Catherine Keener), and they begin an early romance.

With any Apatow film, the rest is highly predictable and the blueprint is formulaic and easy to figure out.

Andy will face humiliation due to his predicament and because of the bumbling yet good intentions of David and his other friend Cal, played by Seth Rogen.

He will inevitably have awkward encounters with a few other female characters, in this case, the aggressive Beth, played by Elizabeth Banks, before finding love with the ‘good girl’ Trish.

They will ride off into the sunset to live happily ever after. Spoiler alert- they have sex!

The best, and arguably only good part of The 40-Year-Old Virgin is Carell’s Andy. The character brings a warmth and a vulnerability that causes the audience to sympathize with his plight. While the majority of the viewers will not relate to being a virgin at his age they can at least relate to having an embarrassing issue to deal with.

I am glad that this film led to meatier roles for Carell. Foxcatcher (2014) and his storied role as Michael Scott in television’s The Office (2005-2013) immediately spring to mind.

Keener, mostly known for her dramatic rather than comedic roles is decent as the main love interest, Trish.

She, like Andy, is a rootable character though we don’t know too much about her. She is fond of Andy so, therefore, we like her and hope she takes Andy’s cherry.

The rest of The 40-Year-Old Virgin is riddled with standard comic setups and situations. When Andy slips and reveals his virginity by the next day his entire store knows his secret. From there, the insulting additions of a transvestite prostitute and a weird speed dating situation arise.

We know all along that Trish is the girl he will be with.

Apatow unwisely gives an interminable two-hour and thirteen-minute running time to his film which feels too long for a situation comedy.

One hour and thirty minutes would have been ideal and more desirable.

The 40-Year-Old Virgin (2005) is not the worst offender of the Apatow collection but it lacks any surprises or attempts at diversity.

It’s a perfect example of a tried and true adult sex romp with, thankfully, a likable central character.

2017 Films, Adam Scott, Alison Brie, Ari Graynor, Biography, Bob Odenkirk, Bryan Cranston, Comedy, Dave Franco, Drama, Ike Barinholtz, J. J. Abrams, Jacki Weaver, James Franco, Jason Mitchell, Josh Hutcherson, Judd Apatow, June Diane Raphael, Keegan-Michael Key, Kevin Smith, Kristen Bell, Lizzy Caplan, Megan Mullally, Melanie Griffith, Seth Rogen, Sharon Stone, Zac Efron, Zoey Deutch

The Disaster Artist-2017

Leave a comment

The Disaster Artist-2017

Director James Franco

Starring James Franco, Dave Franco

Scott’s Review #781

Reviewed July 2, 2018

Grade: B

The Disaster Artist (2017) is a biography-comedy that I found to be middle of the road to primarily good if I’m judging in overall terms- most I liked with a bit of criticism.

Due to the many accolades, I confess to having anticipated a bit more from the finished product and hardly finding it a masterpiece.

Still, I was both impressed and unimpressed by James Franco’s performance in the lead role. I was awed at the actor’s emergence as a director, and the Los Angeles setting is great.

At times the film teeters almost into bad slapstick or shtick, and a bit silly, and as much as I respect his performance, this criticism is directed at Franco. Nobody can deny his acting talent if he chooses the right films.

His attempt to make his character peculiar is noticeable within seconds, so it seems Franco also makes him a bit of a goof, and I was not able to take the character seriously all of the time.

And the weird accent threw me.

This film is based on the nonfiction book The Disaster Artist. The book chronicles the making of 2003’s The Room, not to be confused with the 2015 film Room. The Room was considered amateurish and one of the worst movies ever made.

Told repeatedly that his acting stinks, oddball Tommie Wiseau (James Franco), a European-American aspiring actor, decided to screw Hollywood and produce, direct, and star in his film.

Wiseau has an endless amount of bank funds, which he uses towards the film. Roommate and friend Greg Sestero (Dave Franco) stars in the movie and thus gets his big break. The duo and various others pitch in to create the project, which suffers from ineptness on the part of Wiseau.

The Los Angeles setting resonates with me, as does the recurring theme of struggle in the Hollywood scene. These are significant pluses of the film as a whole.

Los Angeles can appear to be a sunny and glamorous town, but beneath its shiny exterior, it always has a gloomy, dark underbelly.

The film realistically depicts struggle and success, from the central characters to the supporting players, making it resemble an ensemble.

Thousands struggle daily for a break, and no respect or appreciation is given. The Disaster Artist scores a win by focusing on this.

When Tommie brazenly approaches an influential producer in a restaurant, he is unceremoniously dismissed for having no talent and told he will never get anywhere. In addition to Tommie, several actors associated with the film struggle.

In a fantastic scene, an older actress states that being on a bad movie set beats any other job by miles. The message here is that people in Hollywood are there because they genuinely love it.

The sweet, empowering theme of friendship and empowerment is also to be celebrated, especially given the cutthroat backdrop. Tommie and Greg are best friends and have each other’s backs through thick and thin.

Neither gives up on the other, even during the initial audience reaction to The Room premiere.

Could the film have been slightly darker? Yes, indeed, as very few scenes of drug destruction or the porn that many hopeful talents turn to are mentioned. But the film is not about that. It’s an enchanting tale of hope and fun.

It is interesting to note, and not evident to me while watching the film, that brothers James and Dave Franco play opposite one another. While there is somewhat of a physical resemblance, the chemistry works between the two actors as best friends.

James delivers a worthy portrayal of an unusual character with a strange dialect, long, stringy brown hair, and seemingly cross-eyed. The role is comedic and ideally suited for an unusual actor like Franco- he must have had a ball with the part.

Movies about movie-making always fascinate me. What goes on behind the scenes?

The Disaster Artist (2017) provides enough good film meat to make it an overall good experience. It stays true to some fine Hollywood history—the famous James Dean is referenced, and the spot where he died is even visited—nice touch! Franco is both good and disappointing in the main role.

All in all, this one is worth watching for those who enjoy filmmaking, Hollywood, or L.A.-set films.

Oscar Nominations: Best Adapted Screenplay

Independent Spirit Award Nominations: Best Male Lead-James Franco

2017 Films, Aidy Bryant, Anupam Kher, Bo Burnham, Comedy, David Alan Grier, Drama, Holly Hunter, Independent, Independent Comedy, Independent Drama, Judd Apatow, Kumail Nanjiani, Kurt Braunohler, Michael Showalter, Ray Romano, Zenobia Shroff, Zoe Kazan

The Big Sick-2017

Leave a comment

The Big Sick-2017

Director Michael Showalter

Starring Kumail Nanjiani, Zoe Kazan

Scott’s Review #720

Reviewed January 29, 2018

Grade: B+

The Big Sick, a 2017 independent “dramedy” film, takes what could be a standard premise and turns it upside down, offering a fresh perspective on a familiar tale about a prospering relationship.

The screenplay is the standout as the writing is intelligent and crisp. Thanks to exceptional acting by all four principal characters, The Big Sick is a success and worth watching.

The story follows an interracial couple, Emily and Kumail, played by Zoe Kazan and Kumail Nanjiani, who have recently started casually dating. Kumail is a standup comic living in Chicago who meets the flirtatious Emily after a club performance one night.

They share a one-night stand and agree never to see one another again.

As the smitten pair break their promise and form a romance, a tragedy occurs, landing Emily in a coma.

Kumail must handle Emily’s parents, Beth (Holly Hunter) and Terry (Ray Romano), who are angry with Kumail for misleading Emily and not telling her about his strict Muslim parent’s intentions of marrying him off by arranged marriage.

The screenplay (nominated for a 2017 Oscar nomination) is loosely based on the relationship between actor/writer Nanjiani (who stars), and Emily Gordon (who co-wrote the screenplay).

Especially since Nanjiani stars, the film is sincere and authentic, as if Nanjiani is living the role.

The chemistry between Nanjiani and Kazan during their many scenes at the start is a significant plus to the film. Before the drama takes off, the audience will become fully invested in the pair as a couple.

Whether the couple flirts as Kumail drives Emily home or fights when Emily learns about his Muslim culture’s belief in arranged marriage, the couple has a tremendous connection, and it shows.

The story fabric takes an interesting turn about midway through when Emily is stricken with a debilitating illness.

A medically induced coma is needed, as Kumail is forced to pretend to be her husband, this opens up many moral and legal ramifications that the film chooses essentially to ignore, instead of dealing with the relationships between Kumail and Emily’s distraught parents.

Hunter and Romano are excellent in the parent roles. Hunter is the more showy of the two and has more meat, while Romano holds his own and powers a vital comedy club scene in which he defends his wife from a callous heckler.

Admittedly, the film decides to go the “happily ever after” route, this is hardly a surprise given that Judd Apatow is the producer.

Remember, this is the same guy who produced safe films such as Superbad (2007) and Anchorman 2 (2013). Still, the story within The Big Sick is an enjoyable, character-driven ride, if not unpredictable.

A darker-tinged affair might have set this film over the top as it contains many other credible film qualities.

The addition of comic talent in the supporting roles of Kumail’s comedy club buddies adds a good balance and nicely counterbalances the drama so that it does not become too dour.

Much of the film involves Emily in a coma, so comic talent such as SNL’s Aidy Bryant and Comedy Central’s Kurt Braunohler are suitable ads.

I enjoyed the inclusion of the traditional Pakistani custom of arranged marriages, but at times this seems played for laughs rather than being a significant obstacle to the couple.

Kumail’s controlling mother parades one young Pakistani girl after another in front of her son as a way of encouraging him to select one of them. Kumail’s traditional family is played as stereotypes and the lighthearted foils of the film.

The Big Sick (2017) succeeds with crisp, witty dialogue and a solid story that nicely complements the intended comedy.

A few too many stereotypes and goofiness keep the action light even when compared to the more serious parts—great acting all around.

Oscar Nominations: Best Original Screenplay

Independent Spirit Award Nominations: 1 win-Best Supporting Female-Holly Hunter, Best First Screenplay (won)

2012 Films, Albert Brooks, Bill Hader, Billie Joe Armstrong, Chris O'Dowd, Comedy, Graham Parker, Jason Segel, John Lithgow, Judd Apatow, Lena Dunham, Leslie Mann, Megan Fox, Melissa McCarthy, Paul Rudd, Romantic Comedy, Wyatt Russell

This Is 40-2012

Leave a comment

This Is 40-2012

Director Judd Apatow

Starring Paul Rudd, Leslie Mann

Scott’s Review #473

70244168

Reviewed September 6, 2016

Grade: B

I must admit, I was not looking forward to seeing this movie, and my initial thought was “typical dumb comedy” that has been seen a million times before.

While This is 40 (2012) does contain those elements and is marketed toward a certain target audience, this movie is, surprisingly, smartly written and intelligent…overall.

I have not viewed Knocked Up (2007), but I understand it’s a somewhat follow-up to that film, as the two central characters are now married and traversing through a different time in their lives-adulthood.

I enjoyed Paul Rudd’s, Melissa McCarthy’s, and whoever played the oldest daughter’s, performances the most, though Rudd has become the latest actor to play the same role over and over again.

I enjoyed the rock n roll elements and the confrontation scenes as these were very cleverly written and nicely acted.

Sadly, at times the film relies on the standard bathroom humor done thousands of times before- a clear attempt at a laugh, and Jason Segal’s and Megan Fox’s characters are unnecessary to the main plot.

This Is 40 (2012) is a film that, at its heart, shows the trials and tribulations of generations of families, humorously, and done rather well.

2015 Films, Amy Schumer, Bill Hader, Brie Larson, Chris Evert, Colin Quinn, Comedy, Daniel Radcliffe, Ezra Miller, John Cena, Judd Apatow, LeBron James, Leslie Jones, Marisa Tomei, Marv Albert, Matthew Broderick, Pete Davidson, Romantic Comedy, Tilda Swinton, Tim Meadows, Tony Romo, Vanessa Bayer

Trainwreck-2015

Leave a comment

Trainwreck-2015

Director Judd Apatow

Starring Amy Schumer, Bill Hader

Scott’s Review #463

80036402

Reviewed August 13, 2016

Grade: B

Trainwreck is a raunchy 2015 comedy/romantic comedy that lends its success largely to its star.

Amy Schumer makes this film as good as it can be (after all, she wrote it) and despite the raunchy girl power themes that are currently the popular trend in films of this genre, Trainwreck has some laughs and good times thrown in, thanks to Schumer.

Judd Apatow directs, who has successfully made a gazillion of these types of films in modern times.

The film does teeter off into predictability toward the conclusion. It has its moments of fun and is not boring.

Unapologetic, sexually promiscuous, and boozy, Schumer plays a successful magazine writer (Amy) given an assignment she despises- interview a sports medicine doctor, named  Aaron (played by SNL alum, Bill Hader).

Amy hates sports and knows nothing about them, she also goes from man to man, nothing serious, and is currently dating a sexy bodybuilder named Steven (John Cena), who she thinks may be gay.

Predictably, Amy and Aaron fall in love.

In typical fashion, Trainwreck contains stereotypical characters or characters who are merely there to bounce off the main action.

SNL alum Vanessa Bayer, and Tilda Swinton are the most obvious examples, as the loyal best friend and rigid, type-A boss, respectively.

Brie Larson and Colin Quinn co-star as Amy’s family members. Both give one-note performances that are fine, but unspectacular, and one surmises that Brie Larson agreed to this role before her Oscar-winning turn in Room (2015).

Despite the comedy clichés, I had some good fun with Trainwreck.

Schumer is likable as an ordinary girl, think of her as the new Melissa McCarthy, to whom many people can relate. I am not sure Schumer and Hader had the best chemistry, but the point was that she found love with a “regular” guy, a tad dull, to counter-balance her big, loud personality.

And they do make a charming pair.

Some scenes work. When Amy encourages a naked Steven to “talk dirty to her” in the bedroom and he attributes everything to bodybuilding, the scene is funny.

When Amy and Steven banter with an angry couple at the movie theater, fall flat.

Certainly not high art, for the raunchy comedy genre, Trainwreck is a treat and entertaining to watch, in large part due to the comedic talents of Amy Schumer.

More often than not, when the masses rave about a current comedy as being “great”, I am usually disappointed. While Trainwreck (2015) is not great, it is good, with some laughs.

Otherwise, it is a rather by-the-numbers film.