Aaron's father's funeral is today at the family home, and everything goes wrong: the funeral home delivers the wrong body; a cousin gives her fiancé a Valium from her brother's apartment, not knowing her brother is dealing drugs - it's LSD and the fiancé arrives at the funeral wildly stoned; Aaron's younger brother, Ryan, a successful writer, flies in from New York broke but arrogant; one uncle is angry over his daughter's choice of boyfriends, and the other is cranky and coarse. Add an ovulating wife, a jealous ex-boyfriend, and a short stranger who wants a word with Aaron - what could he want? Would another death solve Aaron's problems? And what about the eulogy? Written by
In the original Death at a Funeral (2007) screenplay, the character that Peter Dinklage ended up playing was of average height and not written as an Achondroplasic dwarf; the character was changed for him after he auditioned and was cast. He then became the only actor to reprise his role in this remake. See more »
The Chrysler 300 that Norman and Derek are riding in is constantly changing headrests/seats between Cadillac and Chrysler, back and forth. See more »
This is an example of movie-making at its worst. I really am at a loss to know what market these sorts of movies are aimed at. Perhaps a black US audience might find more amusement than a UK audience although the director is white. I don't know. This IS a black movie with a capital B. There are three token white actors one of which is a token midget. They studiously avoid referring to his lack of height until the end of the movie when it all comes thick and fast but, as with the rest of the movie, unfunny. Chris Rock, arguably the lead, is not an actor of any discernible talent, closely followed by his brother in the movie that's brother rather than brother Martin Lawrence. The women and the white actors come off marginally better. A gag about a guy getting crap all over his hand is a toe-curlingly unfunny set-up for a totally unamusing running gag. The movie doesn't even end when it should do but has another two or three minutes of 'story wrap-up' scenes which are completely unnecessary. Directed by Neil (The Wicker Man 2006 remake) LaBute one can only wonder what dirt he holds on Hollywood execs that they continue to bankroll his worthless projects. If anything, perhaps it is good to see something like this occasionally just to remind oneself what good cinema is all about.
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