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.
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
After Sandy and Diane purchase the $200 car, the scene showing their arrival to St. Louis as they cross a bridge is actually downtown Chattanooga. The tallest buildings and St. Louis Arch were digitally added. See more »
When Sandy stops for gas in Denver, and finds his credit cards declined, the gas station pumps have three choices of octane: 87, 89, and 92. Since Denver is at an altitude of 5280 feet (Mile High), the octane choices of all local gas stations are 85, 87, and 91 octane. 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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