As veteran comedy fans, it is not unpredictable that Tina Fei and Amy Poller have a big somersault. Since the two left SNL, they have never contributed works corresponding to their abilities and reputation in the film market as the protagonists. In the same period, the "Climax Sister" Christine Wig has gone to "The Martian", the sister flower who can't get rid of the image of an intellectual joke, is still continuing the old way of "surrogate mother" eight years ago.
It's hard to say whether it's not catching up with the good time, or really can't let go of it. But looking back at that generation of SNL actors, Sai Jinhua and Fei Lun have their own talk shows, Tina Fei and Amy Poller also have TV comedies that have won several awards (although they are all over), Will · Ford retreated to "The Last Man" after "Hundred Battles", and his third cousin "Dad's Good Son" then took the gold ball with the main attack on "Detective God". Perhaps this generation of SNLer is not like Will Ferrell and Adam Sandler, but also has a good audience on the big screen.
Before the super master Bill Harder broke out, for the time being, let's look at the mean Jason Sudekis and Sister Orgasm.
Judging from the Golden Globe Awards a few years ago, the two's comedic talents are likely to be more reflected in Stand-Up Comedy. But compared to Amy Schumer, who has no moral integrity, she seems a bit uncomfortable. The contradictory relationship between the pursuit of a classy of personal image and meeting the needs of popular entertainment is a problem that the two have not solved for a long time, which also limits the positioning and play of the two sisters in the film industry. Tina Fei and the prospective actor Steve Carell starred in "Date Night" many years ago, with Sean Levy at the helm. The comedy part is still not off the track, but at the same time, a lot of Sean Levy's signature chase The car and action scenes have already reached the level of general action crime movies, making this film an impure mid-cost comedy movie.
And there are too many such movies.
What's more, the characteristic of one of the protagonists is that they have no personal characteristics.
The current situation of the two sisters is very similar to Paul Luther before "Lonely Ant-Man": middle-class spokesperson, typical middle-aged crisis, and self-entangled senior intellectual. Everyone enters the movie theater to see the worthless characters ruined and ruined, and whoever wants to watch their own shadows pretends to be twitchy.
Without the help of Judd Apto and SNL's family (in fact, there are still), "Sisters" successfully became the worst party/female film. This is not only because of the excellent and distinctive films of the same genre such as "Neighbor Wars", "Female Spy" and "Wreckage of Life" successively appeared during the year, but also because of the poor quality of "Sisters".
From the basic setting point of view, the two sisters originally thought that they could usher in the exchange of existing images. Tina Fei was the one who didn’t care about it, and Amy Poller was the honest one, but as the film progressed, this design Definitely can't show the value it deserves. The positioning between the two protagonists is chaotic, and the gap cannot be opened up. This is disappointing for the audience who is familiar with the two, but it is fatal for the audience who is not familiar with the two. A large number of low-quality and high-repetition laughs make people feel embarrassing. The screen charm of active SNLer Bobby Monihan and Kate McKinnon is still to be tested (especially the former). The remaining supporting roles are very safe and conservative choices. The bee sister from the "Daily Show" is not bad, but the only outstanding ones are the contemporaries Maya Rudolph and the hunk John Cena.
The average Jason Moore did not show the level of "Perfect Pitch", which confirmed the importance of Elizabeth Banks. Paula Pell’s script is a direct extension of the SNL skit, and it is far less careful than "Hundred Battles"-the latter is also bad enough. The whole movie is a crappy joke that is too deliberately crafted and embellished: a group of forty-year-old men and women are like young men with excess hormones. What will it be like? ——It's so embarrassing, surprisingly embarrassing.
What's terrible is that the two protagonists seem to realize that this is not the kind of movie they want, but they can't do anything to make up for it. They seem very weak and out of control-not the plot, but the performance.
As a result, the only interesting passage in the film is that the male protagonist is exploded by the music box.
Judging from the level and reputation of the two sisters, "Sisters" obviously has ambitions that are not commensurate with the quality. After all, it has been raging at the Golden Globes for so many years, so it's time to do anything. But when I turned around, I found that this world is already the world of the climax sister and the big fat girl(s).
Who can be blamed? Who is to blame?
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