Movie Reviews By Bil Antoniou
Bil’s rating (out of 5): BB. USA, 2014. Universal Pictures, Wessler Entertainment, Red Granite Pictures, New Line Cinema, Conundrum Entertainment. Screenplay by Bobby Farrelly, Peter Farrelly, Mike Cerrone, Bennett Yellin, John Morris, Sean Anders. Cinematography by Matthew F. Leonetti. Produced by Riza Aziz, Bobby Farrelly, Peter Farrelly, Joey McFarland, Bradley Thomas, Charles B. Wessler. Music by Empire Of The Sun. Production Design by Aaron Osborne. Costume Design by Karen Patch. Film Editing by Steven Rasch.
Twenty years after they solidified Jim Carrey‘s non-stop reign at the box-office, Harold and Lloyd are back to unleash their special brand of tomfoolery on an unsuspecting world. Jeff Daniels‘ Harold busts Carrey’s Lloyd out of a hospital after having visited him there for twenty years, telling him that he is ill and needs a new kidney. When they discover an old postcard from an ex-girlfriend who told him she had his baby over twenty years ago, Harold asks Lloyd to help him track down this newly discovered relative and save his life. The journey they go on takes them from Rhode Island to Texas as they reconnect with an old flame (Kathleen Turner), step into a murder plot involving the daughter’s adoptive family and cause mayhem at a technology conference for geniuses. It’s got everything you ever loved about the movies by the Farrelly brothers, including envelope-pushing grossness, a winsome adoration for members of all sorts of minorities who, depending on your tolerance and mood, get to be in on the joke, and all manner of opportunities for Daniels and Carrey to show off their rubbery facial expressions. What it doesn’t have is the fun spirit of the original, since twenty years later these guys look old in those haircuts, and everyone involved is just a little bit too desperate to make us laugh. Said desperation takes a lot of warmth out of the jokes, which was typical of their earlier works; there are moments of genuine hilarity, but a lot of it is painful to watch, even Turner looks terribly uncomfortable making the kind of movie she would have been able to avoid quite easily twenty five years ago, and the unnecessarily elaborate plot is tiresome.