I knew by the end of 2020, as I was trying to assess the highest highs and lowest lows of cinema, that I was destined to come back around to Netflix’s The Wrong Missy. The Adam Sandler-produced sex comedy looked quite abysmal from its trailer so I knew I’d have to watch this eventually. I tried putting it off for months, and I used it as an incentive for me to try and watch Kelly Reichardt’s well-regarded indie, First Cow. I have disliked every ponderous, monotonous, meandering Reichardt movie I have watched, and despite the critical acclaim, I knew I needed more motivation to keep me going. I told myself if I couldn’t last 30 minutes into First Cow, I’d punish myself and finally watch The Wrong Missy. Well, my feelings for Kelly Reichardt movies proved to be the same and I left First Cow after 30 plot-less, boring minutes. The Wrong Missy is a special kind of bad where it feels like an endurance test to punish you for expecting anything beyond having an unpleasant person screaming in your face for an hour. This isn’t just an obnoxious comedy but an aggressively obnoxious comedy, one that wants to push the envelope with edgy situations and crazy characters but instead just wholly depresses.
Tim (David Spade) is an insurance adjuster still reeling from his former fiancé (Sarah Chalke) abruptly dumping him for a work colleague. Tim goes out on a blind date with Missy (Lauren Lapkus) and it’s a complete disaster. He then encounters Melissa (Molly Sims) at the airport and they share a meet-cute and seem to have the start of something romantic sparking. Tim has a work retreat in Hawaii and he intends to invite Melissa but, instead, invited the infamous Missy. Now Tim has to pretend Missy is the desirable Melissa he’s been bragging about and to tame her wilder impulsive behavior so that he can make a better impression with the big boss.
The Wrong Missy teeters into offensively bad with its questionable content but its biggest artistic miscalculation is that it dials the Missy character up into a horrifying cartoon psychopath that nobody would want to send a second with, and then it tries to say we should fall in love with her like Spade’s character eventually does for some inexplicable reason beyond Stockholm syndrome. The difficulty with making the oddball character lovable is knowing how odd to make them, to establish a baseline of what is normal and what is beyond the pale. The Wrong Missy goes wrong almost immediately with the introductory first date. It’s not just a bad date or one where Missy is too weird; she is categorically insane and truly scary. At one point she brandishes a machete and follows Tim into the bathroom. There’s also so much yelling. So much. Some people don’t have off switches but Missy doesn’t even have a dial to turn down. From the very start, Missy is repellent. There is no salvation here. Any person who encounters her should run for their lives in the other direction. People should be alerting the police. She already is brandishing a knife and has threatened others onscreen. She is a danger to all.
The key problem with the screenplay’s conceit of its mix-up is that Missy is so repellent, and the first date not just bad but legendarily mortifying, that it makes no sense whatsoever that Tim would still have Missy’s contact information in his phone. He would have deleted her completely to try and forget that night ever happened. I too have been lax about getting around to trimming my social media friends and phone contacts, but if I underwent the first date that Tim had, the first thing I would do with a woman that ensured a hospital visit was delete her very presence on my phone and block any means of her contacting me again. This is the fallout of the broad miscalculation in intensity. By making Missy so powerfully obnoxious and the date so horrendous, the next part plot-wise becomes harder to believe. It’s harder to believe Tim would even attempt to go along with this ruse rather than tell Missy to go back home on her own. If he considers her such a liability, what does he have to gain from prolonging the risk by keeping her around? I know the reason is to eventually fall in love with her, but what did he have to lose by immediately jettisoning her once he discovered she was, in fact, the wrong Missy? Nothing.
Much of the humor is just patently gross. I expect a sex comedy to feature bad taste but it’s another matter when the movie feels like it’s trying to so hard to make you uncomfortable, and failing that, The Wrong Missy will just resort to being obnoxious and loud. Take for instance when Tim wakes up on the plane ride to find Missy furiously jerking him off below a blanket. He did not consent to this while conscious let alone when he was unconscious. Imagine if the genders were reversed and a woman woke up with a man’s hand under her pants and he had been doing something without consent while she was asleep or unconscious? We would be horrified and we should still be, and yet this scene is played for laughs. Missy also hypnotizes Tim’s boss into retching whenever he hears a co-worker’s name, so there’s even more questionable consent issues with Missy wreaking havoc on the lives of others. There’s also a sequence late in the film where Missy suggests a threesome between her, Tim, and Tim’s former fiancé. This moment is meant to convey the growing connection between Tim and Missy, and emphasize him moving on from his lingering breakup. This is covered by the fiancé character getting repeatedly hit in her head while Tim and Missy are oblivious to her very existence. It’s just uncomfortable and not funny, especially since it’s the same bad joke over and over. It’s the same with Missy, who often just blurts out something profane, crude, and loathsome. She has a screechy voice she calls “Hellstar” that is neither charming nor funny. I feel like the filmmakers were trying to test an audience into what they might accept under the false pretense of tolerance because Missy is a woman (“Would you not laugh at an obnoxious dude, huh?”) and therefore it would be sexist to call her out for her bad behavior. The problem is that Missy is barely a recognizable human.
Spade (The Do Over) just seems far too old for this kind of movie. He’s 56 years old now and this part is better suited for someone twenty years younger. He’s on smarm autopilot, which is hard to distinguish between playing to his deadpan strengths and him just being bored. Lapkus (Jurassic World) is a comedian I’ve enjoyed from her many TV appearances from Orange is the New Black to Crashing. The only reason for this movie to exist is as a comedy vehicle for her, and she is fully unrestrained and in your face. It’s hard for me to fathom enjoying her character but I suppose there can be points of entertainment just watching the actress go full-out for the majority of the movie. It’s a big, broad, physical performance, though the energy level peters out in the second half as the movie attempts to make her a more acceptable romantic option. I don’t fault Lapkus but I couldn’t stand her grating performance played to the hilt and stuck on repeat.
I think the fact that Sandler’s wife Jackie plays a prominent supporting character (consistently in a bikini) likely tells you all that you need to know about The Wrong Missy’s production. It’s another one of the Happy Madison excuses for Sandler and his pals to have an extended vacation, this time in Hawaii. Sandler’s kids even make cameos as tourists that Missy, naturally, screams at. When you’re using a movie production as a glorified vacation, things like story and character and emotional investment and payoffs tend to fall by the wayside. The director, Tyler Spindel, served as a second-unit director on several Sandler productions from the 2010s. I doubt without the intervention of Sandler that David Spade would still be top-lining romantic comedies in 2020. Lauren Lapkus deserves better and a real star-making vehicle for her to display her physical comedy talents. The Wrong Missy is wrong in about every way a comedy can go and it’s, easily, one of the worst films of 2020.
Nate’s Grade: D
How bad does bad get? That’s the question with Joe Dirt 2: Beautiful Loser, a sequel 14 years in the making to a one-joke character from an actor now in his 50s. It’s so bad that this movie is a Crackle original, a streaming service that I don’t think people know exists. You can feel every degree of sad desperation while you watch. There are so many scenes that just seem to prattle on indefinitely, varying from one or two angles, as if they only had time to film one take and kept encouraging their actors to just keep throwing things out there in the misplaced hope that somehow somebody would strike gold. It does not happen once. David Spade returns and he’s whisked away Wizard of Oz-style into the past where he watches his beloved girlfriend choose his rival (Mark McGrath) over him. It’s a weird Back to the Future Part 2 alternative timeline and one where McGrath also plays his character’s father in an inexplicable scene where he allows his family to unknowingly jerk him off. I hope that last sentence begins to reveal the true depths of comic despair that is Joe Dirt 2. It’s not that it’s powerfully unfunny, it’s not that the plot is completely inconsequential, it’s not that the jokes end up being weird pop-culture references dating back to the 90s (Buffalo Bill in 2015?), it’s not that Spade looks like he’s fulfilling some deal with the devil, it’s not that the movie has no purpose and no reason to exist, it’s that Joe Dirt 2: Beautiful Loser is like a communal funeral. You watch it and you mourn; for those involved and for your lost time. If you can find a more pointless, depressing, past-its-prime sequel, then I think the seventh seal has been opened, spelling the doom of mankind. I figured Adam Sandler would be responsible somehow.
Nate’s Grade: F
Adam Sandler keeps his friends from the unemployment line with this lowbrow, middle-aged themed, yet still entirely juvenile, comedy, Grown Ups. The movie is really a giant fetid waste of potential. It’s Sandler and his old Saturday Night Live buddies (David Spade, Rob Schneider, Chris Rock, and Kevin James obviously filling the Chris Farley spot) chumming it up and decrying the foibles of being 40. They don’t get the kids today, nostalgically reflect on their summer camp days, and try to recreate some of that old magic with a combined family get-together. Each man falls into a rigid type and will learn some half-hearted, disingenuous form of a life lesson by film’s end. The entire dimwitted plot is as stunted as the male characters. These guys just pal around and it’s termed a movie. The female characters are all one-note: figures of lust, saintly significant others who never get to be in on the joke, shrews, or Schneider’s older wife who is a constant butt of some mean-spirited jokes. The actors do have an amiable chemistry that allows the film to coast for some time before the whole affair just becomes wearisome. These guys have played these types for many many movies, and so everyone just operates on autopilot. The heavy slapstick momentarily distracts from the truth that Grown Ups is an unfunny, crass attempt by Sandler to get audiences to pay for his class reunion. The fact that this junk won the Best Comedy Award from the People’s Choice Awards illustrates the limitations of democracy.
Nate’s Grade: D+
Originally The Emperor’s New Groove was a grand Disney formula flick known as The People of the Sun concerning the Aztecs and included six Sting songs. We would have had this “same old same old” if it weren’t for someone who courageously raised their hand and said “Isn’t this stupid?” God bless that person. The original theme was scrapped as well as all the songs excluding one. The patented Disney formula was ditched for a fast pace and zany antics that haven’t been seen from Disney hands since Aladdin.
The central message of Emp’s Groove is still a moral lesson – this one over vanity and self-centeredness. David Spade voices a young prince named Kuzco with no regard for any of his followers. He plans on building a special waterslide by destroying the village of Pancha (John Goodman). Spade’s scheming high priestess Yzma (Eartha Kitt) concocts a potion to kill the Emperor with the aid of her dim-witted but loyal assistant Kronk (Patrick Warbutton). Through a mix-up the potion doesn’t end up killing Kuzco but turning him into a llama. So now alive and trying to regain his throne Kuzco can only find help with Pancha, the one he had wronged earlier.
The vocal talents of the four leads are particularly inspired with Warbutton on a different plane of comedy. Warbutton provides the film’s biggest laughs and is a genuine master of timing and vocal inflections. When Disney sequelizes this straight to video (as they do everything now) I hope it centers on Warbutton’s Kronk character. Kitt is fun in an over-the-top parody and Spade provides delicious sarcasm so simply.
What’s being advertised as hilarity is more or less spotty. Some jokes work but others are full of tedium. There are stretches of tedium that shouldn’t be there for something with “zany antics.” Yet, the 15 minute ending is the best piece of the film with multiple comic payoffs.
The anti-Disney Disney movie is anti enough. the jokes need to come more often and it takes a while to truly get into. It has its moments but The Emperor’s New Groove is not new enough. Although, I’m thankful that we got what we did instead of what we could have.
Nate’s Grade: B-