Posted January 28, 2013 by Beth Webb - Events Editor in Films
 
 

Movie 43


If you didn’t already know that Movie 43, the latest Hollywood flick consisting of an orgy of narratives, was the co-product of a Farrelly, you would soon realise minutes in.

If you didn’t already
know that Movie 43, the latest Hollywood flick consisting of an orgy of
narratives, was the co-product of a Farrelly, you would soon realise minutes
in.
Lurching into cinemas under the self proclaimed title of “the most
outrageous comedy ever made,” the latest in maximum cast/minimum screentime
ensembles brings together a series of intangible short stories held together by
a trio of youths hunting for the mythical Movie 43.

From the off, this tedious sub-narrative doesn’t set a
promising tone. Such is the lack of likable qualities amongst these three
hormone-riddled, selfish, forgettable catalysts that it would serve better to
dish out these shorts or “virals” one after the other and spare the viewer
unnecessary anguish.

Wisely, the first short involves two of the more prestigious
names on the bill. Winslet and Jackman are luckily liked enough to
soar through their onscreen challenge, which would be cruel to spoil but lies
safe in the knowledge that you probably won’t be seeing Jackman in the same way again.

From then on it seems that each of the 12 directors credited
are hell-bent on packing every offence and taboo possible into the remaining 80
minutes. Faeces, genitalia, homophobia, casual racism and, in one instance, an
Oscar winner mixing guacamole with her bare chest, grace the colliding
mini-plots at breakneck speed. Sean
William Scott
and Jonny Knoxville’s
short is a notable low, with Gerard Butler, his face
horrifically grafted onto an actor of restricted growth’s body, beating and
shooting them as an angry leprechaun.

It’s amongst the gasps and groans as our once-admired cast
debase themselves, both physically and metaphorically, that you realise there’s
no laughter amongst the audience. Aside from a passable starless sketch
involving young children working within the ATM machines and photocopiers of
everyday life, the only reactions summoned are those of horror and
disbelief.

It’s unavoidable that Movie
43
will be profitable on account of its swollen list of A-listers, but
what’s called worryingly into question is why this film was made in the first
place. Its dual purpose seems to be to disgust and offend, surpassing its
outrageous target completely and bringing to light a disturbing new face to
Hollywood’s idea of comedy.


Beth Webb - Events Editor

 
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