Pete and Debbie are both about to turn 40, their kids hate each other, both of their businesses are failing, they're on the verge of losing their house, and their relationship is threatening to fall apart.
Dave is a married man with two kids and a loving wife, and Mitch is a single man who is at the prime of his sexual life. One fateful night while Mitch and Dave are peeing in a fountain, lightning strikes and they switch bodies.
Sandy Patterson (Jason Bateman) gets a nice call confirming his name and other identifying information. The next thing he knows, a spa in Florida is reminding him of his appointment and his credit cards are maxed out. With his identity stolen, Sandy leaves his wife, kids and job to literally bring the thief to justice in Colorado. Keeping tabs on the other Sandy (Melissa McCarthy) and run-ins with bounty hunters is harder than he was expecting, and ultimately the cross-country trip is going to find both Sandys learning life tips from one another. Written by
The punch that Diana uses at least twice on Sandy Patterson. And on other people in the film. Is a very dangerous tactic. A punch like that. In the larynx is a killing blow. It breaks the larynx and the person suffocates. See more »
When Sandy is following Diana down the highway, there is a quick glimpse of the speedometer of her car as she accelerates. The car says it is "Tue 23 Feb." However, based on the photo IDs, Sandy's birth date is 18 May 1974. The movie takes place in May just after his birthday, based on his family celebrating his birthday near the beginning of the movie. See more »
These aren't your friends. They like you because you're buying them drinks. People like you don't have friends.
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After the end credits, we hear two lines of dialog from earlier in the movie. The Skiptracer Robert Patrick saying "No, Sandy's a girl's name!" And Sandy Jason Bateman replying "It's not, it's unisex!" See more »
The cast is too talented to have let something like this happen. But here they are. The film has good intentions, but it doesn't seem to know what it wants to be as the tone of the film shifts quite frequently. And this shift in plot and narrative work their way back to the characters, forcing us to always remain at arms length and never really become attached or concerned with them. There were plot points that could have been exploited, and others that could have been omitted in order to remedy this situation.
Often throughout the film I was on the cusp of laughing at the jokes or being pulled along by the characters, but then would be immediately cut loose. It feels like the film went to production one script revision too soon.
In the end it feels like a modern retelling of De Sica's 1948 Neorealist film The Bicycle Thieves. Just with a traditional Hollywood ending and little to no exploration of the human condition.
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