Writers David Wain and Michael Showalter won over audiences (though not critics) with their 2001 nostalgic summer-camp satire Wet Hot American Summer and attempt to repeat their success with their new rom-com parody They Came Together. The film pokes fun at just about every romantic comedy trope and cliché out there, but committing the same mistakes as the cookie-cutter genre it’s parodying isn’t ironic enough to justify laughs. Many of the punchlines are either beaten to death by repetition or are needlessly explained why they’re funny. And there’s nothing funny about that.

The film begins at a dinner table where Joel (Paul Rudd) and Molly (Amy Poehler) recall how the two of them met to their friends Kyle (Bill Hader) and Karen (Ellie Kemper). Right off the bat the film acknowledges that their story is very much like a corny romantic comedy, as if admitting their own corniness gives the film a free pass. Not long after the lovebirds start describing how they began to date, Kyle blurts out from across the table, “You weren’t kidding, your story really IS like a corny movie!”. Cue the eye rolls.

Both Joel and Molly had broken up with their significant others shortly before running into one other (literally) on their way to the same party. However, it was not love at first sight. The two start off on the wrong foot by getting into a loud argument after blaming the other for the collision. They definitely don’t seem right for each other. After all, Joel works at the Corporate Candy Company which threatens to shut down Molly’s small indie candy shop. Though in the very next scene the two instantly settle their differences in a book store upon discovering their love for the fiction genre. It’s suppose to be ridiculous, that’s the joke.

There are moments where the self-aware comedy works. One of the few laugh out loud moments is when Molly recites a paragraph of specific details while ordering a muffin, only to find out that the entire passage is actually verbatim on the menu. But unfortunately, many of the gags are simply exhausting. Case in point when Joel replies to a bartender, “You can say that again”, who then proceeds to repeat his line over and over until it becomes annoying. A similar instance occurs when someone shouts “swish” after every missed shot on the basketball court. It’s funny maybe once or twice, but definitely not on the fourth or fifth.

They Came Together certainly relies on the undeniable charm of Rudd and Poehler. Maybe a bit too reliant. Both actors do their best with the material, at times elevating the writing better than anyone else could, though even their great comedic chemistry is not enough to save the film. Perhaps that’s why Wain gathers an army of an ensemble including appearances from Ken Marino, Jason Mantzoukas, Ed Helms, Melanie Lynskey, Max Greenfield, Jack McBrayer, Kenan Thompson, and even Judge Judy. These are all welcoming additions but unfortunately all the talent goes to waste with the weak script.

Even a with a short-and-sweet runtime of 83 minutes, They Came Together overstays its welcome with repetitive jokes. The real kicker is many of those jokes weren’t all that great to start with. For example, there is a running joke that New York City plays SUCH an important role in the film that it’s almost a character itself. I suppose this is a dig towards Woody Allen for claiming the city is its own character in his rom-com Manhattan, but I think the joke will mostly fall on deaf ears. They Came Together tries too hard to become a self-aware parody that it forces its humor, generating much less laughs than expected.

It comes as a bit of a surprise that, with so many recent horror films aping off of different subgenres from the past, no one has really attempted to tackle the creature feature. Jacob Vaughan’s Bad Milo! sticks out from today’s oversaturated horror market simply because it harkens back to a group of films that haven’t been touched by anyone else in the last several years. Films like Ghoulies, Gremlins, and Critters show their influence throughout, but they’re only reminders of why these kinds of movies stopped getting made.

Bad Milo! has a plot that will immediately divide viewers. After opening with a flash forward to the film’s climax (a device that was already getting overused years ago), we cut back to Duncan (Ken Marino) and Sarah (Gillian Jacobs) at the doctor’s (Toby Huss, in a very funny bit part) discussing a large mass that has appeared in Duncan’s colon.

The doctor says it’s nothing to worry about, and is most likely a result of stress. It immediately becomes apparent just how stressed Duncan is once he leaves the doctor’s office. His mother (Mary Kay Place) pressures him to become a father to the point where she grills him on sexual issues over dinner; his boss (Patrick Warburton) merely uses and abuses him as much as possible, and Duncan’s strained relationship with his father (Stephen Root) dominates his life. It turns out that the lump in Duncan’s colon is the titular monster, a small creature that periodically crawls out of Duncan’s ass to devour anyone who makes his life more stressful than it already is.

Bad Milo! is backed by a surprisingly good cast given the scatological subject matter, but only a few people get enough material to shine. Peter Stormare, playing Duncan’s therapist, hits the right balance between a campy and straight-faced approach. Marino carries the film fine, even when he’s covered in feces and screaming in pain, but his talents are put to better use when he sticks to the rude, obnoxious characters he tends to play in other projects. The rest of the cast feels wasted, merely there as an obstacle for Duncan or a future victim for Milo. Jacobs, a great comedic actress, doesn’t do much other than being the doting wife.

Once Duncan realizes what’s living inside him, and starts confronting the problems in his life to avoid increasing the body count, Bad Milo! takes a sentimental turn that falls flat. There’s a playful quality to the subject matter that works sometimes (a scene where Duncan gets a colonoscopy is the film’s highlight), but asking viewers to emotionally invest in Duncan’s father issues when they’re watching an ass monster movie is asking for too much. Films with similarly gross stories, like James Gunn’s Slither, know how to hit the right notes of camp and seriousness. Bad Milo! relies too much on generating an emotional response, and fails at it.

It’s a wacky story, and it inspires a few laughs, but it’s also a one-joke premise that can barely sustain itself over such a short runtime. The casting elevates the material to the point where Bad Milo! makes for passable viewing, but don’t expect much outside of a few funny jokes and a surprisingly cute monster covered in shit.

Bad Milo! trailer:

Short Term 12

SXSW film-goers pegged this picture pretty well when they gave it the audience award a few months ago. Destin Cretin’s second feature in as many years is an honest crowd pleaser that leaves you feeling all warm inside. Brie Larson, in an exceptional dramatic turn, and a solid John Gallagher Jr., mentor a very good ensemble cast as the head staff at foster care facility named Short Term 12. Cretin skillfully reveals that the bright faculty of this care center emerged from a similar backgrounds as many of the children they oversee. He does so with a script that skirts the many clichés of a ‘troubled kids’ drama and renders his characters painfully clear. In a post-screening Q and A he admitted to working in a facility similar to the one depicted in the film and conducting hours of interviews with workers and children as research.

Short Term 12 often deals in extreme emotions and Cretin guides his actors skillfully into restrained performances, yet at times the filmmaking fails to follow suit. Too often the production sound falls to a dreamy silence as the music, an excellent score from young composer Joel West, pumps up the emotion when audiences are already right there with the film. So many recent filmmakers have adopted a “naturalist”, documentary, or handheld style that it feels like the new norm. It’s more shocking to see carefully executed dolly shots and classical editing than shaky close-ups in low lighting. In Short Term 12, Cretin with long time cinematographer Brett Pawlak, execute this style to a tee and allow their actors to shine. Cretin and his team craft a beautiful film about nontraditional families using traditional storytelling.

RATING: 8

Ain’t Them Bodies Saints

David Lowery’s unclear and unconvincing script extinguishes what could have been a fiery noir burning with lust and violence. His story contains many great crime genre staples—a love struck criminal, a beautiful country girl, a menacing father figure, lusty cops, and a prison escape; not to mention it’s set in the 30s. The industrious Lowery has lured immense talent to his film but fails to deliver even an ounce of the proposed excitement.

Full Review of Ain’t Them Bodies Saints

RATING: 5

In a World

Lake Bell, a lovely character actor, makes her feature debut as writer/director with the unique comedy In a World. She draws from an impressive Rolodex of friends, such as Children’s Hospital co-stars Rob Courdry, Ken Marino, and Nick Offerman. Bell delights in filling most of the cast with comedians who all excel in dramatic turns. In a World works because it is not just silly nonsense like many of this summer’s comedies, but a compelling father daughter story set in the goofy, yet interesting, niche world of Hollywood voiceover artists.

Bell plays, Carol, a shiftless layabout who specializes in voice coaching dialects because she thinks she cannot make it in the cutthroat would of voice acting, dominated by her father, Sam, played by the marvelous Fred Melamed. Sam seems comfortable to pass the torch to a younger voice stud named Gustav when studios revive the classic movie trailer phrase, “In a World…” for a new round of epic Hunger Games/Twilight-esque films, but Carol begins booking voice over gigs of her own and throws a wrench into this male dominated world. On paper the plot seems a bit trite, but the wealth of supporting characters, touching family drama, and beautiful performances all around make for a great time. Bell perfectly balances the laughs with the drama and never lets the story get too silly or too dire. She crafts a wonderful and heartfelt comedy that also addresses serious issues of family relationships and feminism in Hollywood yet remains entertaining throughout. I look forward to more films from Bell.

RATING: 7