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Bobby Farrelly’s terminal teenage comedy

Both an obvious product of nostalgia for the 90s and final healing for this, the “Driver’s Ed” in the terminal phase of Bobby Farrelly can be described as a youth comedy, but whose youth? Although technically, it takes place nowadays, because smartphones exist and someone mentions Ritalin, the sensitivities of the director and the scenario (by Thomas Moffett) are so trapped in the past that the whole film looks like a man from the defrosting caves wearing a pair of eg earry, except after “the entry of the intrigue”. Pre-Millennial Pop-Culturel Artifacts.

It is difficult to remember that the era being so little funny, however, or completely so tamed, which is particularly disappointing since Farrelly, working with his brother Peter on films like “There is something in Mary” and “Dumb and Dumber” was responsible for some of her best gags at risk of icon and the most iconic. Nothing in “Driver’s Ed” even aspires to the “Mary” hair freezing, and the closest that we get the “Frank or Beans” sequence is a guy Frat during a party that strikes random from guys to the groin, making them double in pain. The rest of “Driver’s Ed” – apart from certain F -bomb and the occasional reference to Boners – is just as healthy as the “American Pie” apple pie (1999) soiled this comparison forever.

Speaking of healthy, here is Jeremy (Sam Nivola), the leader of the film, with starred eyes, in star eyes and 18 -year -old secondary schools, determined to succeed in a long distance relationship with his recently graduated girlfriend Samantha. The Jeremy cinema (whose conversation is dotted with checks of the most venerated movies canonically from Hollywood films) is so convinced that Sam and Sam will remain together until he can graduate and join her in college, that when she drank him and expresses a doubt, he goes to a Tailpin. The next day, during the driver’s emergency class, went temporarily in the instruction car by the substitute teacher played by Kumail Nanjiani in two broken plaster for madness, Jeremy decides a whim to steal the vehicle and drive the three hours to see Sam in person.

However, in the car with him there are three classmates: Aparna, obedient for the observation of the rules, (Mohana Krishan); APATThetic Stoner, DURAGE-DEAL YOSHI (Aidan LAPRETE); And Gerky but Cynique Evie (Sophie Telegadis), including the feathered feathered bob, Flippy and Pastel gives the mid -90s extreme, Drew Barrymore / Reese Witherspoon and does not make it. You don’t need to be a hair historian to know that no young man has worn her hair like that, apart from “come your mom when she was your age”, in about 30 years.

Be that as it may, despite the fact that the group is not particularly close, and despite the other three expressing their disapproval of Jeremy’s plan in uncertain terms, they suddenly decide to join it because in this way, we can have a film. Once on the road, they have a bizarre but strangely flat pile – with a three -legged cat, a thief, a cop, a refrigerated truck full of vintage furs and a hot lesbian with an open car and a large St. Bernard – before arriving at Sam’s College after learning inevitable lessons on life, love and friendship. Meanwhile, the Molly Shannon, usually reliable, offers an inexplicably maniac performance of the exasperated nonsense of adults while the director of the school tries, with a lot of hangers but very little emergency, to find the children.

To be strictly fair, “Driver’s Ed” does not only refer to the comedy of the Lycée in the 1990s. It also has only one yen too obvious for the 1980s, and specifically for “The Breakfast Club”, which is rocked by a brief makeover scene and the final clibaceous when the children are all marveling to what extent they are. But while the classic approved by John Hughes of John Hughes has his implausibilities, he never tries any set piece as frankly ridiculous as that of “Driver’s Ed” where three 2025 teenagers stand essentially on a bridge over a river, with completely predicted results.

Not that it is the fault of an attractive young casting that makes its best to inject energy and personality into the inert, heavy and heavy dialogue of the joke that could not resemble the way modern adolescents speak if each second word was “rad”. “Everyone changes all the time,” says Shannon’s principal to the faithful Jeremy with a moment. It is a shame that “Driver’s Ed” seems to believe that, in the decades that followed the comedy of the school for the first time, teenagers have not changed as much hair on their heads.

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