Jennifer Lawrence is hilarious. Sure, she’s made a name for herself as an actress in independent drama (The Burning Plains – Solitude’s Edge, A Freezing Winter – Winter Bones), in blockbusters and franchises (the trilogy of hunger games, X-Men 2.0), in thrilling films that are somewhere between horror and thriller (Hates – House down the street, passengers) and whatever category you want to put it in Mother!. David O. Russell knew right away that Lawrence was perfect for her drama distorted and neurotic, and it’s impossible to think that Bright side And American hustle and bustle without them they would have worked just as well. After taking some time off and becoming a mother, the Oscar-winning actress is back and making us happy causeways, showing that she was still willing to go deeper and explore the dark side. Complicated women have always been her forte, even when she was still dressed in Mystique blue.
But if you’ve ever seen Lawrence on her talk show appearances or caught her fooling around on the red carpet, you know the Kentucky native is hilarious. Unpredictable, uncontrollable and WTF Fun. She has such a chaotic energy that you’d think this movie star is a new incarnation of Carole Lombard, someone whose beauty hasn’t been diminished but complemented by a genuinely wicked sense of humor. Nobody, not even Russell, had really used that part of his public persona; in his role in a “comedy”. Don’t look upLawrence had been reduced to the expansive voice of reason in a sea of madmen.
When an uncensored trailer was released a few months ago, it suggested that some creatives had finally figured out how to capitalize on Lawrence’s wild personality and comedic numbers, all on the premise that the boundaries of “good taste” were being tested , there was interest and how. In the end, we got what we wanted: an unfiltered J-Law that she pretended to tame on screen in the name of wild, foul-mouthed maturity. That would be worthy of a sexy comedy secret queen. To the right? To the right?!
No way. girlfriend for rent It gives Lawrence a chance to be repulsively anti-social against a sea of blue-blooded idiots as a victorious lout taking on a world of snobs, one at a time. Needless to say, she’s the best thing about this botched attempt at adult sex comedy, just as a daisy looks so much better than the pile of crap she grows out of. Her timing, her way of responding with inflammatory sarcasm, her uncanny dexterity with physical comedy: give her a ladder while she’s wearing skates, a shelf to knock over after she takes a punch in the throat, or one licensed jerk to blow off steam with and Lawrence won’t disappoint. However, without the shackle of etiquette, not even J-Law can save something so lazy and desperate to offend anyone. The film just doesn’t live up to its standards. Actually on no level.
Her character, Maddie Barker, is originally from Montauk, New York and rightly has a reputation as a destroyer. He made friends with most of the boys in town and soon started ignoring them; The list of his enemies is miles long. Her anger at her is matched only by the resentment she harbors for all these wealthy people who have recently moved away, treating their citizens like slaves and skyrocketing the property taxes on their late mother’s house – which they now don’t pay because she just can’t pay. Her car stalled, effectively losing her job as an Uber driver.
That’s why Maddie responds to a Craigslist ad from a local couple (Matthew Broderick and Laura Benanti) in their Buick. However, they don’t want money. In exchange for the car, these two concerned parents want 30-year-old Maddie to date their 19-year-old son Percy (newcomer Andrew Barth Feldman). To use Maddie’s phrase, she should, um, “go out.” The boy is intelligent, but shy, talented, but afraid of his own shadow. He’s going to college this fall and his parents want to boost his self-esteem. What better way than to let an older woman seduce him?
Either you are outraged or you are willingly accepting this morally questionable situation, which would have been described as “dirty” in the 1960s and “risky” and a bit in the 1970s Risky business – old people out…kids dancing in the eighties. (You can see excerpts from this first Tom Cruise film, along with a reference to it graduatein the mind of a boy initiated into an adulthood marked by sex, capitalism, and vulgarity.) girlfriend for rent Pay attention to the combination of laughter and cuteness that the Farrelly brothers have perfected, especially when the film wants you to take care of the characters. Maddie begins to take a liking to this boy. He, in turn, gets her to talk about her father’s problems when she’s not trying to mount him or having his crotch kicked. You’ll feel the movie struggling to make you laugh while also trying to wrench your heart but stumbling awkwardly from pitch to pitch. Say what you will about the Farrellys: they’ve figured out how to strike just the right combination of bittersweet and depth for a thoroughly dirty comedy. This movie is just bittersweet.
It also attempts to evoke the decades-long wave of all-female comedies with misbehaved leads that has peaked The Bride’s Friends and its lowest point with Bad teacher – A bad teacher. Not surprisingly, director and co-writer Gene Stupnitsky also wrote this Cameron Diaz film, which gives us a similarly delightfully degenerate heroine who eventually softens, matures, etc. Stupnitsky worked on that too The office, but whatever he’s learned about comedy, he doesn’t use it in this film. The scenes seem to end just as they develop some sort of comedic dynamic, and thanks to Lawrence’s talent, there’s never a tempo that would make you laugh in any part. Minor characters appear for a nanosecond and then disappear from the film’s memory. (Hasan Minhaj, Kyle Mooney, and Ebon Moss-Bachrach all deserve an apology.) Did we mention Lawrence is naked and beating up some burglars on the beach when she gets kicked in the genitals? This is the kind of showpiece meant to bloat audiences, and on paper it probably rocked. But the way the sequence is presented makes it feel like witnessing the sudden death of the gag on screen.
The longer you watch the comedy parts girlfriend for rent This inevitably leads to failure the more angry you get. Lawrence tries very hard, he works hard to make sure the dialogue works, the double entenders and that this faux pas deserves sympathy, he throws himself into slapstick routines and epic failure Maddie sexy with excitement. And you want the film to support their achievement rather than complicate it. Ultimately, his work is best viewed here via YouTube, where the inspired moments of gonzo madness and wide-eyed reactions stand on their own as brief bursts of fun, contrasting with the film they are captured in. The future of raunch-com For adults in the studio, let alone theatrical releases, it relies on stars like Lawrence to do exactly what she does to shore up the film. It’s hard to believe that this attempt to revitalize the genre is actually undermining its future.
Out of Rolling Stone USA