STARRING: PAUL RUDD, SEANN WILLIAM SCOTT, CHRISTOPHER MINTZ-PLASSE, BOBB’E J. THOMPSON AND ELIZABETH BANKS
Again, it’s state-of-the-art on a personal level for every multiple-paragraph reflection of a film that I come up with to start with this disclaimer that I, in actuality, am not a critic but a like-hate person or at least someone who covets an evolution into such a frame of mind, of complete bias instead of partiality whence I get to stand as myself and not a trivial mouthpiece of popularized opinion. Hell, why did I have to say too much for that, I could have just stated that I liked David Wain’s 2009 release ‘Role Models
’ for (wait for it!) it’s acceptable humour and ample show of wit.
’ for (wait for it!) it’s acceptable humour and ample show of wit. Paul Rudd, the universal ‘sober’ guy who delighted in Judd Apatow’s intolerably tolerable ‘Knocked Up
’ takes up this new non-committal pragmatist who depresses himself so as to show that he could excel at that too, but it’s mostly the crisis of a middle-aged single man, which means he isn’t as much from Mars as you’d normally expect him to be. Wheeler (Seann William Scott) could probably be found to be more relatable, the usual ‘hit in and quit it’ guy (as the character mentions at a point of time) and the turn for the good comes in form of a pioneer Energy Drink that proves to be disastrous, and Danny’s girlfriend Beth (Elizabeth Banks) who decides to move out. But nonetheless, it’s still the ‘girl in the sweatshirt’ for Wheeler and a self-created end of the world for Paul, which means that this film is incredibly not about sexual turntables, but about something way better, something that’s higher priority.
’ takes up this new non-committal pragmatist who depresses himself so as to show that he could excel at that too, but it’s mostly the crisis of a middle-aged single man, which means he isn’t as much from Mars as you’d normally expect him to be. Wheeler (Seann William Scott) could probably be found to be more relatable, the usual ‘hit in and quit it’ guy (as the character mentions at a point of time) and the turn for the good comes in form of a pioneer Energy Drink that proves to be disastrous, and Danny’s girlfriend Beth (Elizabeth Banks) who decides to move out. But nonetheless, it’s still the ‘girl in the sweatshirt’ for Wheeler and a self-created end of the world for Paul, which means that this film is incredibly not about sexual turntables, but about something way better, something that’s higher priority.It’s about Partners in Crime and a ‘Kiss-my-anthian’ triumph.
I mean, personally, any film that can treat adolescence presentably deserves attention, or so I believe (hence the ‘personally’). The character line-up is not that much more than just commendable, the end is almost obvious but there’s this refreshment in form of the extended finale with one of the truest of battles fought, led by the ever-persevering Cat, and I’m talking about a quarter of an hour of guaranteed hilarity minus histrionics of any sort. Here’s a film where the comic moments actually raised some laughs, where the headmistress (or equivalently placed) did cocaine and where there’s an actual sense of warmth that I felt when I headed out of it, with ‘KISS’ firing their ‘Lovegun’ (reminds me to check the band out!) where Danny gets Beth through an outrageous song that’s only worthy of the film and everything that it tossed in. A fun-film experience that promises to go deeper, ‘Role Models’ worked for me and I think these people can definitely be looked up to.
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