Just last night, I also talked to my friends about the success of "I Love My Family". There are factors of the times that cannot be ignored. The fact that this sideball sitcom is widely welcomed has a certain black humor effect. I think this feeling has many similarities with "Unexpected Pregnancy".
I have seen "American Pie" series, "European Trip", "Mixed Dormitory" and other movies that use "sex" as comedy gimmicks. "Unexpected Pregnancy" is really not a funny movie. To be honest, I even watched Jason Segel's cameo role in it. Of course, the long-lost Joanna Kerns is also ecstatic to be found in the film. Because the Mandarin version of "The Troubles of Growing Up" was so influential, I didn't even recognize her at first.
Let's talk about the film. All the jokes in the film are so subtle and without intensity. Compared with the same type of hilarious comedy, it is basically tickling. And the film seems to mainly discuss the role responsibilities of the male protagonist. After the female protagonist decided to keep the child, she basically didn't encounter much emotional twists and turns. Maybe a woman is as firm as her motherhood when it comes to children, so she won’t look back. The most interesting thing is that the woman has basically no obstacles in her career and family. And the man...from friends to family, basically nothing looks like a human. Saying plausible things, doing things that are not four or six, the protagonist's struggle and reflection are fully expressed in the film. If you say that you win with warmth, the film is obviously not sensational, no lingering, no life and death, and it feels inferior to "Like Heaven." However, the film turned out to be the dark horse of the summer vacation. So many people in the United States are fascinated by this nightmare and fairy tale story, perhaps because the state in the film is exactly in line with the inner state of the mainstream American population: seeing children be pleased. On the side that I like, I get a cold sweat when I hear the voice of the child~
In short, simple stories, ordinary narratives, ordinary jokes, and conventional shots make this film no fulcrum for evaluation. Everything is in line with the basic model of Hollywood romantic comedy: Encounter-Know-Friction-Contradiction-Separation-Change-Return-member. The shooting is quite satisfactory, there is no outstanding feature, no unusual style, and standard assembly line production. It's hard to imagine how such a film can break out of the siege and become a dark horse. In the end, it can only be boiled down to: Either this year's summer file has no good films at all, or the old Americans are too poisoned by the children.
For some unknown reasons, Americans seem to have a natural fear of marriage and children. Perhaps it is because the concept of freedom is too popular, and everyone generally chooses to avoid responsibility. It's not about not taking it, but trying not to take it if you can. The whole story revolves around the main line of how to bear the responsibility and how to transition his role. From the beginning, the actor's understanding gradually changes to actively cater to it, and finally internalized into a spontaneous need, the whole process of his own Faced with embarrassment and helplessness several times, coupled with the unsatisfactory performance and opinions of relatives and friends, constituted a comedy element, and the film did not take pregnant women or pregnancy-related matters too much, basically followed the "Forty Years Old Virgin" The humorous state of Meng Sao. The actor's performance is natural and smooth, which makes people wonder if Seth Rogen is acting in his true colors.
In a country that we generally think of as "sexually open", we are very serious about pregnancy; and in our relatively conservative ancient civilization, giving birth is a common occurrence. I think this phenomenon itself is already an element of humor. Americans are probably self-deprecating, but we see it more ironic. It is not appropriate to say more, the old beauty still knows humor very well.
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