When their new next-door neighbors turn out to be a sorority even more debaucherous than the fraternity previously living there, Mac and Kelly team with their former enemy, Teddy, to bring the girls down.
Dave Skylark and his producer Aaron Rapoport run the celebrity tabloid show "Skylark Tonight". When they land an interview with a surprise fan, North Korean dictator Kim Jong-un, they are recruited by the CIA to turn their trip to Pyongyang into an assassination mission.
Three buddies wake up from a bachelor party in Las Vegas, with no memory of the previous night and the bachelor missing. They make their way around the city in order to find their friend before his wedding.
Kelly and Mac are settling down in a quiet neighborhood with their newborn child, until the frat brothers move into the house next door. Teddy is the President, and Pete is his right hand man, and they're quick to accept friendship when Kelly and Mac introduce themselves as the neighbors. Night after night, Mac asks Teddy to lower the fraternity's noise, even accepting the invitation to the party one evening. When Teddy goes back on his word to keep the partying down, Mac calls the police to deal with the problem. The police quickly blame Mac for their presence, and the war begins. As the family feuds with the frat brothers, things get hilariously dangerous and the fraternity ends up on thin ice with their college. After receiving their final warning and being placed on probation, Mac and Kelly pull a prank so ingenious that Teddy and Pete are forced to respond. All hell breaks loose, from Robert DeNiro parties to Christopher Mintz-Plasse having sex in the bushes, this comedy shows ... Written by
If there were any justice this film should be a career killer for rogan, byrne, and efron.
The sheer bankrupt cynicism that gets these worthless pictures financed is more or less guaranteed because they keep making money from a feral generation who think this is what humour is.
But this is a comedy without humour or any redeeming merit. The studios go on believing rogan is funny because his films reference a lost generation of sybaritic wastrels, who have no cannon of judgement by which to measure taste and intelligence, but who have the price of a ticket.
The mistakes are all in the writing -- the work of two no-hopers whose only track record is in collaborating with each other. They should go back and study the rudiments of plotting, structure and joke-writing itself.
There wasn't a single laugh in my audience and overall, the picture is about as funny as a broken arm. the obscene language keeps on descending to idiocy in every rogan film until it has no impact left at all on a desensitised world.
Efron's performance is borderline psychopathic and his internal dialogue shows on his face as disgust at himself. I have never seen such worrying ambivalence in an actor before. Actors don't know what is good and what is not. They rely utterly on feedback, but never quite believe the feedback. They call it going out on a limb and exposing themselves to risk. Their obsequious flunkies never tell them the truth so they find solace in anticipating the next good project and half-remembering the last bad one.
The production is ugly, improvised and worthless. One shot is actually out of focus. But they think you don't notice such things.
Do not see this film. Save your money. Don't encourage them to make another like it. Pass over the ordure you're being offered on a regular basis by the amoral cynics behind a class of film that will condemn this generation with all future generations.
If you saw Movie 43, then you know exactly what to expect from this effort. Movie 43 required 28 talentless writers to produce abhorrence, while Bad Neighbours efficiently took only 2 of them to fail on the same scale.
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