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ROUGH NIGHT, a bloody saga

rough-night-a-bloody-saga

Bridesmaids has found its unofficial sequel in Lucia Aniello's Rough Night.

The plot is simple, at first. Jess (Scarlett Johansson) is getting married, and for her bachelorette party she’s heading to Miami with her old college friends. There’s ex-roommate Alice (Idiotsitter’s Jillian Bell), who’s struggling to get over the past; bickering ex-girlfriends Blair (Zoë Kravitz) and Frankie (Broad City’s Ilana Glazer); and Pippa (Saturday Night Live’s Kate McKinnon), a friend she made while studying in Australia. The stage is set for a weekend of debauchery and after a night of heavy drinking and heavy drugs, Blair decides to order Jess a stripper, but needless to say things go bad. How bad? Well, the actual stripper gets mistaken by criminal who accidentally gets killed by Alice. Things get a lot worse when the girls try to get rid of the body. Yes, the plot gets twisted.

"There are plenty of gags in “Rough Night” that don’t work, like the overly obvious role-reversal stunt of having Jess’ fiancée stage a bachelor party that’s an absurdly effete evening of wine-tasting. McKinnon, as Pippa, has an effervescent silliness, but too much of the joke of her performance boils down to her doing an Aussie accent as if that were a bubbly novelty. Yet Peter’s all-night-long drive to Miami to rescue Jess gets funnier as it goes along, and what’s amusing about the movie is the cocky texture of its feminine bonding — the jokes about home bikini waxing or scarfing pizza over a dead body, delivered with a new style of merciless aggression. It’s hardly the first, or most original, comedy of female outrage to come along, but we’ve had 40 years of men behaving badly on screen, stretching back to “National Lampoon’s Animal House,” and watching these ladies get their turn generates a slobby low-down kick." (Variety)

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"There’s an unusually progressive dynamic brewing between the characters played by Kravitz and Glazer – essentially playing a variation on her Broad City role – who dated at college and have a frisson throughout. Unlike other recent mainstream films that have acted coyly around same-sex relationships, there’s a casualness here that’s worth praising. The men in the film are rightly secondary, and this is used for a few smartly subversive gags about how sedate the bachelor party is in comparison.

Rough Night is a great deal funnier than the majority of studio comedies released in the past year (admittedly the bar is low), but it feels hampered by its canvas. The pop-soundtracked gloss is at odds with an amoral premise and a script that only truly comes to life when it opts for amusing the few rather than causing a broad crowd to guffaw. A fun night will be had, but you’ll have trouble remembering it in the morning." (The Guardian)

"“Rough Night” switches the gender lineup from “Very Bad Things” but with less (shallow) philosophizing and heterosexual panic. Much like their “Very Bad” counterparts, the women quickly embrace self-interest, which leads to unfunny gags with an inconvenient corpse. That women can be as deadly or immoral as men isn’t new or interesting, and here it also isn’t all that entertaining. What is notable is that “Rough Night” makes room for the opposite sex (too many comedies are his or hers), specifically with some slow-building nonsense involving Jess’s fiancé (Mr. Downs), who crashes the party in adult diapers — which reads as a nice, sly wink at the comedy of male infantilism.

American comedy has long depended on overgrown baby boys — Lou Costello, Will Ferrell — whose naïveté, entertaining misbehavior or outright stupidity suggests that men are finally as toothless as infants. It’s a convenient fantasy (don’t worry, ladies!), one that has grown less viable as women have gained power and autonomy offscreen. “Rough Night” wants its female characters to get down, dirty and dumb, too, and indulge in their ostensible vices as unapologetically as any Zach Galifianakis boob. That’s cool or might be if the jokes were a lot funnier and if this movie grasped that performing naughtiness is meaningless when men behaving badly is the rule of the land." (New York Times)

"But unlike Broad City, where the highs and lows, the comforts and frictions of female friendship are deeply embedded in the comedy, Rough Night never fosters much investment in these thinly drawn women, either collectively or individually. (In terms of this genre, Bridesmaids remains untouchable on that front.) The wasted talent here includes McKinnon, who has yet to find a movie vehicle to capitalize on the brilliant comedic gifts and incisive character detailing she brings to her work on Saturday Night Live." (Hollywood Reporter)

Check out the trailer below.

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