16 july 2014
What might as well be called herpes, “Sex Tape” is an uncomfortable shame to tasteless comedies all over the place. Luckily no prescription is needed in the wake of being laid open to it: The impacts are not lasting, just frightful.
Here’s the peculiar thing: Two of the motion picture’s three scholars (Jason Segel and Nicholas Stoller) have worked together on several great films (“The Five-Year Engagement,” “The Muppets”). Segel likewise composed the significantly more clever “Overlooking Sarah Marshall,” while Stoller steered. Where did things run so awfully the matter with “Sex Tape”? Did the disease stem from the incorporation of author No. 3, Kate Angelo, in charge of the horrendous J-Lo film “The Back Up Plan”?
Hard to say. “Sex Tape’s” fundamental reason is strong: Married couple Annie and Jay attempt to kick off their sexual coexistence by making an explicit feature that unintentionally winds up on the ipads of loved ones (the film is fundamentally Apple’s most exceedingly terrible notice ever). Stars Segel and Cameron Diaz (whose last grown-up comic drama, “The Other Woman,” was one of spring’s most startling astonishments) have made dependably interesting films previously. Indeed the supporting cast – which incorporates Rob Lowe as the apparently clean-slice CEO who needs to contract Annie as a kind of representative for his family-arranged organization – is more than equipped for creating giggles.
Yet everything about “Sex Tape” feels off: the comic timing; the pacing; the jokes; the way that Diaz and Segel play their school age selves. Indeed the altering is wild, the clarifications of how the feature got synchronized to other people’s ipad blundering and redundant. The result is a motion picture that feels put together randomly. Chief Jake Kasdan (“Bad Teacher,” “Walk Hard: The Dewey Cox Story”) appears to have expected that the topic is sufficient to make the crowd giggle, and he’s offbase. There are a couple of entertaining sight stiflers including Segel and a German shepherd (creature darlings may differ), however practically every other joke is a retread. The motion picture even tosses in the abused let’s-do-coke-and-get-all-insane and-talk-quick scene, a beyond any doubt indication of franticness.
Segel and Diaz are diversion for anything – both of them have bare scenes, and Segel even deals with an agile if startling stripped headstand – and at the film’s end, when the crowd at long last gets an impression of the sex tape being referred to, a couple of appalled snickers may eject. In any case by then, its excessively little and past the point where it is possible to get worked up over a film that is not by any means half as unrefined, inconsiderate and interesting as it could have been.