Synopsis
Friendships run deep.
Two pals embark on a road trip full of funny pranks that pull real people into mayhem.
2021 Directed by Kitao Sakurai
Two pals embark on a road trip full of funny pranks that pull real people into mayhem.
Eric André Lil Rel Howery Tiffany Haddish Michaela Conlin Gerald Espinoza Kaleila Johnson Michael Starr Yvette Tucker Allan Graf Kevin Cassidy Cory DeMeyers Henry Wang Charles Green Greg SmithAldridge Adam Meir Peter A. Chevako Dimitry Elyashkevich Guillermo Dionisio Insfran De Fazio Giovanna Dan Murisa Harba Forrest Walsh Anthony J. James Rebecca Rose Goodman
Trip Brock Kelly Vandever Lorita de la Cerna Raymond Park K. Joshua Fernberg Alexander Jongbloed Joshua Crisci Xiang Li
Un mal viaje, Брэд трип, Viagem Ruim, Mizerná jízda, Un viaje pesado, טריפ רע: מותחים גבולות, Loše putovanje, Ugratások filmje, バッド・トリップ ~どっきり横断の旅~, ცუდი მოგზაურობა, 배드 트립, Bloga kelionė, Pranksterzy w trasie, Călătorie cu surprize, Приколисты в дороге, ทริปป่วนคู่อำ, Şaka Peşinde, Шалена поїздка, Chuyến Đi Siêu Quậy, 恶搞之路, 一路鬧到底
first 10 minutes were not clicking at all but it got so good....so fast. like as soon as the musical number parody happened it got extremely fun. this is pretty much all my favorite parts of the eric andre show in one movie with the added bonus of being suchhh a clever way of using hidden camera pranks in film. probably the best hidden camera prank movie if we’re being honest?
just so glad that this makes up for eric andre’s extremely disappointing standup special from last year (that i’m still not over, apparently)
Has exactly one joke but that joke is fucking genius and incredibly well-realized in the filmmaking. Obviously the Jackass movies and other comedy shows like Nathan For You have done hidden camera pranks while playing characters but there's a unique energy that comes with this almost front-to-back being completely indistinguishable from a cliché scripted studio comedy; the formal structure, pacing, and rhythm of scenes, even specific dramatic shot choices. Capturing these heightened tropes we buy into when we watch movies and then populating them with real people on the periphery to introduce spontaneity (that frequently doesn't play much differently than say improv) and get the most incredible reaction shots imaginable. There are some amazing set pieces conceived and I haven't…
This is outstanding. Takes the beats of a by-the-numbers studio comedy and plays it out with unwitting participants in a way that reveals just how much true human nature is reflected in even the least believable parts of those movies (which is a real chicken-egg scenario, because who knows if that's a reflection of how much we all wanna be the people in those movies!) If aliens came to Earth and needed proof that humans were good, I think I'd show them this movie!
Love love loved it. Already feel like I wanna rewatch it, which is the mark of a special movie to me. I think the psychology of hidden camera prank movies like this is so interesting that…
Okay, is having a dude who looks and sounds like Hannibal Burress but isn't Hannibal Burress play the part that was clearly written for Hannibal Burress a bit?
spielberg better hold off releasing his west side story remake because this is the only love story about a guy chasing a girl called maria i need this year
Such a fun idea executed really creatively! I think it’s fun when a movie is fun and that’s it!!!
Also tbh so much more fun than B*rat 2, where SBC clearly thinks he’s like Jesus and then tries to show people’s like (??) inner prejudices (which I’ve always hated bc like...girl, I’m black lol...I know) and (frankly) then does nothing about them.
The blooper reel especially made me love this movie. A lot of people’s first instincts are to either mind their business or to help. Nothing really sinister about it...just trying to have fun.....ok.....I laughed so much....
84
Such a thrilling comedy. Real life taking shape as a movie. Best laugh: the random dude who brought up Samuel L. Jackson in The Negotiator.
One of the best comedic satires of the century, in my book. Kitao Sakurai and Eric André's Cabin Boy. An absurdly hysterical social and filmic commentary created through inconceivable but perfect methods of cinematic magic. Structure and form as spy cameras capturing reactions and moving the characters, or personas, forward. Security images as propellers which drive the roles to their ridiculous "finish." Really though, the film has no beginning or end (in the same sense of the slick transitions between the cameras, tones, etc. used to distinguish multiple aesthetic realities). It amalgamates flawlessly, ultimately existing in the faction of our subconscious aching to see an amusing interruption or disturbance from the colorless status quo.