Rating
-
Cast & Crew info:
Eric Christian Olsen
Lloyd Christmas
Derek Richardson
Harry Dunne
Rachel Nichols
Jessica
Cheri Oteri
Ms. Heller
Luis Guzmán
Ray
Elden Henson
Turk
Produced by Tally
Barr, Cale Boyter, Toby Emmerich, Oren Koules, Brad Krevoy,
Carl Mazzocone, Troy Miller, Charles B. Wessler, Bennett Yellin;
Directed by Troy Miller; Screenwritten by Robert
Brener and Troy Miller
Comedy (US); Rated
PG-13 for crude and sex-related humor, and for language;
Running Time - 85 Minutes
Official
Site
Domestic Release Dates:
June 13, 2003
Review Uploaded
06/27/03 |
Written
by DAVID KEYES
Ever
get the feeling that you will probably dislike a movie only
after a couple of minutes of seeing it play out on screen?
This is exactly the kind of emotion that manifests during
the rather painful introduction of "Dumb and Dumberer:
When Harry Met Lloyd," the prequel to the very successful
idiot comedy from a few years back. A series of character
introductions pass onto the celluloid with a quirky thrust,
but instead of chuckling or even smiling at what material
is thrown at us, we stare off without so much as cracking
a smile. The scenes are not funny. The scenes that follow
are not funny. The scenes that follow still are still not
funny. The movie is so laughless that only four notes needed
to be recorded on my notepad during the entire screening:
after the first 20 minutes, I scribbled down "not very
funny"; 20 minutes later, "still not very funny";
20 minutes more later, "not funny at all"; and
finally, after witnessing the conclusion, "painfully
unfunny in every way." This is the kind of comedy that
doesn't even deserve to be associated with its own genre.
Contrary
to the suggestive nature of its title, "Dumb and Dumberer:
When Harry Met Lloyd" doesn't actually contain any
of the original cast members from the first film. Gone,
most importantly, are the faces of those who really matter:
Jim Carrey and Jeff Daniels, two actors who at least approached
the admittedly-dopey material of the first feature from
as tolerable a direction as possible, and who also managed
to share some kind of chemistry in the process. In their
places, playing the juvenile versions of the same characters,
are new faces Eric Christian Olsen and Derek Richardson,
men who occupy the screen like mere synthetic clones of
their superiors rather than actual individuals.
The
plot revolves around the first adventures of both Harry
and Lloyd during their high school years, where they meet
for the first time and get caught up, quite accidentally,
in a scheme involving the school's principal (Eugene Levy)
and his mistress, the lunch lady Ms. Heller (Cheri Oteri),
formulating a plot to steal thousands of dollars from the
government by pretending they are investing it in a nonexistent
"special needs" class for the school. Of course,
to pass off their little gimmick as authentic in the eyes
of everyone else, they organize a halfhearted class for
those kids in need of "special" attention, the
first two members of which just so happen to be our two
little idiot heroes.
Like
it's predecessor, "Dumb And Dumberer" shows absolutely
no interest for plot or character whatsoever; it simply
wants to formulate a series of sequences in which people
say dumb things, do dumb things, act in dumb ways or unintentionally
make others seem just as dumb as they are. The big difference,
however, is that the original movie at least warranted a
laugh or chuckle every now and then. This latest vehicle,
cranked out as if it were a pile of rejected standup jokes
in an abandoned script warehouse, is completely devoid of
inspiration and humor. It lacks even simple energy, plodding
along as such a reckless pace that it almost forgets to
include a climax or resolution (and considering that the
movie is only 85 minutes in length, that's an accomplishment
in itself).
The
director, Troy Miller, is also credited with being the man
behind the disaster that is "Jack Frost," a factor
that instantly provides clues to this movie's first misfortune.
His intentions here are obviouscapitalize on the established
value of the premisebut his methods wreak of utter
amateurism, as they lack reason, purpose, and even ambition.
When it comes to doing follow-ups to successful comedies
to begin with, the idea of a prequel suggests bad omens;
after all, what can be said about a project that chooses
to look backward instead of forward for new material?
© 2003, David Keyes, Cinemaphile.org.
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