Movie Review: Hit & Run
Prinz Lee wrote this review 4 years and 7 months ago
With the exception of anything brought to you courtesy of Adam Sandler, it’s become as clear as filtered water during the last couple of years… comedies have become raunchier, bolder, harder and extremely rough, and guess what? They’re hitting their mark! R-rated comedies seem to be gaining leverage among the masses and the results are quite obvious – most of us enjoy them. In a day-and-age where there’s way too much close-minded prudishness going on, why not take advantage out of all those suckling situations, flip them, and present them with humor as rough as they’re currently hitting our society. Whether political (The Campaign), cultural (The Dictator) or simple cases among specific gender behavior – whether immature or not (Ted, The Hangover, Bridesmaids, Horrible Bosses), it’s quite an experience to laugh at how ridiculous and over reactive we can be as a society.
Hit & Run (the latest to join comedy’s hard-ball list) isn’t one that’s made for the easily offended. Its plot is as easy as anyone would imagine, but the film’s script is what displays layers with details that stick within the realm of pasts coming back to haunt, and affecting those currently in and/or around one’s life.
The story follows a young couple (Dax Shepard, Kristen Bell) who risk it all when they leave their small town life and embark on a road trip that may lead them towards the opportunity of a lifetime. However, their fast-paced road trip grows awkwardly, extremely, utterly complicated and hilarious when they are chased by a friend from the past (Bradley Cooper), a federal marshal (Tom Arnold) and a band of misfits.
Ladies and gentlemen, buckle up for the ride. One thing’s for sure, there’s more here than just a simple chase. It’s a mental case of trying to right wrongs, and sticking to whatever idea or acts you see fit.
As writer and co-director, Dax Shepard surely spent his time carefully lining up every character’s lunacy. Even those you may think hold some kind of stability will surprise you as the film goes along. Raising the stakes from scene to the next, Hit & Run presents complexities aiming in every direction, and just when one thinks there’s settlement in the horizon, there’s always a new issue popping up.
Character-wise, we’ve already seen Cooper’s grunge before, as well as Bell’s dramatic abilities, Shepard’s articulate sarcasm, and they come off well in this piece, however, the stand-out performance in this film has to be Arnold’s whacked out version of an overly protective, neurotic and somewhat clumsy federal marshal – something I cannot spoil for you. It’s one thing writing about his character, but it’s another watching Arnold in action. If there were ever a come-back role for this man, this would be it!
Aside from the obvious foul-mouthed dialog, come these unexpected, rugged car chases, orgies, alongside some interesting hustle and odd moral-of-the-story feeling of sticking with the ones you love through the thickest of moments. Overall, there are moments where one needs to disengage with logic; however, it’s clearly one of the best stand-out comedy films this year. Box office numbers won’t draw Hangover numbers, but it does stand firm, dare I say equal with all of Hangover’s craziness and harsh display of what an R-rated comedy should really be.