Barb and Star is the kind of ludicrous, tongue stuck out and arms waving comedy that plenty of men have gotten to make over the years, but very few women have. Here, Wiig and Mumolo seem utterly unconcerned with demographic appeal. One of the reported compromises of Bridesmaids was that Wiig and Mumolo were asked to add in a romantic subplot, to make the film more marketable. That loyalty sells much of Barb and Star there’s even a slight swell of pride in watching them go nuts. I guess the power of Bridesmaids, and general esteem toward Wiig, can get people to agree to a lot. I did find myself wondering how these weird little roles were explained to these celebrities, though, and what made them want to play along. (Or, at least, the community of Vista Del Mar.)Īll that plot doesn’t get in the way of gonzo one-off jokes and cameos, including two from very big stars that I won’t spoil here. Barb and Star is that kind of movie: there’s an evil plot unwittingly stumbled into, a cartoonish megalomaniac pulling the levers, a fight to save humanity. Dornan-who gets an honest to goodness musical number in the film-plays the henchman/lover of a Bondian supervillain, also played by Wiig.
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He’s actually a better fit for Barb and Star, fooling around at full hunk glare. Carnal desire arrives in the form of Jamie Dornan, bouncing strangely off of the recent dud Wild Mountain Thyme and landing in this most ridiculous of comedies. They’re sexual beings, for one-not neutered caricatures.
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But after a ten-year buildup of sorts, I had hoped for some more oomph from Wiig and Mumolo. Comedy needn’t be substantial or about something to work, certainly. We barely know who Barb and Star are-mostly they just talk funny and love culottes. It’s a lark, a lengthy sketch that doesn’t have much beneath it. The film is an enjoyable enough hundred or so minutes, and then it’s gone. It’s a letdown because the movie, in all its goof and fluff, doesn’t make much of an impact. It is, instead, as silly and arbitrary as comedy gets, an absurdist spree that brings to mind Hot Rod and MacGruber and other out-there flights of fancy from former SNL-ers. Gone is any of the sharp social observation of Bridesmaids this is no attempt to capture a zeitgeist.
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They play two middle-aged ladies from the vague middle of the country who take a wacky vacation to a technicolor fantasia version of Florida. Now, a decade later, they are reuniting as a duo with Barb and Star Go to Vista Del Mar (February 12, on demand), which they wrote and star in (the film was directed by Josh Greenbaum). It’s not that Wiig and Mumolo didn’t live up to the promise of Bridesmaids-it’s that they almost seemed to reject it. Wiig resisted the usual path of comedy stardom and did a lot of curious indies, building an oddball resume peppered by brief forays into larger fare like the ill-fated Ghostbusters reboot and the, well, somewhat ill-fated Wonder Woman: 1984. Mumolo has been acting in the years since, and has written some more, most notably the original screenplay that would be mangled into the David O. What felt at the time like the beginning of something big did, over the years, prove more of an isolated event.
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It’s been almost ten years since Bridesmaids, the blockbuster that turned Kristen Wiig into a movie star and made Oscar nominees of Wiig and her co-writer and longtime comedy partner Annie Mumolo.