Amy Mitchell (Mila Kunis) is at the edge of the crisis of nerve. The mother of two children, she struggles to link work and family life, taking an image of the perfection of course is false, as long to be returned by the company. Creaking under the pressure, particularly by Gwendoline, the president of the parents of the students, Amy decides with Carla and Kiki, his two new girlfriends, not to be there for the other and finally take a little time out.
Before the summary of BAD MOMS, directed and written by authors of Very Bad Trip, Jon Lucas and Scott Moore, it was recognized to what the film could be headed. Perhaps it would evoke the difficulty of being a single mother who must also work. Because who said work, said custody of the children, so need to earn more, therefore obliged to spend less time with. A system that is running on the head. BAD MOMS could also be a reminder that women are not the only to have to take care of their children, but dads also have this responsibility (and they take more and more now). Finally, the film had something to ask questions about the education. Being a parent, “perfect” does not make the child fully attended, and submit to all his desires. But in referring to these items too shy, BAD MOMS only refers to a simplistic image of the company, full of clichés, making the movie hardly watchable in 2016.
Clearly there is a mixed feeling that emerges from BAD MOMS. If one rejoices, for example, that Amy grows finally his children not to be assisted, and we remain distressed that they have arrived at the stage where, at the college, they are not able to help themselves to a bowl of cereal for breakfast. Or that until then, “perfect mother ” was meant for Amy to do the homework of his son at his place. It’s the same with this ridiculous image data to the gente male AND female. Here the fathers, unless to be widowed (and thus in the obligation to be present) are non-existent or incapable. The mothers, themselves, behave or castratrices or submissive women. There would be some form of denunciation that could be drawn from these cartoons. It would have to be its authors, who say they wanted to ” pay tribute to their wives-working all day “, consider really all of these as caricatures. All in BAD MOMS then comes to cause a feeling of rejection, as these adults appear to be incapacitated, causing a lack of sympathy for its main characters. There are so far in achieving this impression annoying to be in front of a child ill-mannered that makes noise to get noticed.
“Bad Moms” don’t laugh. Because no, say “cock” every two sentences or masturbate a bottle of vodka and squirt on her partners, this is not funny, it is horrifying. “
In fact, it emerges from the BAD MOMS as much a nuisance visual – image strangely bright in the backgrounds, use of a mounting seizure with slow motion and accelerations to give a false sense of mise en scene – sound, due to an over-use of music additional (a new piece every five minutes, when it is not a musical comedy, it’s heavy). Obviously, this kind of film has very rarely for quality first its realization. Only in BAD MOMS , it is clearly an exaggeration continues in all areas and that makes the movie indigestible. We would then have possibly been able to spend in addition to these technical elements, and have a good time if the promises of comedy, had been met. But again, beyond the fact that the humour does not pass through the image, but only by the dialogues (too often the american comedy looks like filmed theatre), BAD MOMS don’t laugh. Because no, say “cock ” every two sentences, or masturbate a bottle of vodka and squirt on her partners, this is not funny, it is horrifying. This is clearly vulgar. An element that can amuse, if it is mastered. Comedies like 21 Jump Street, Our Worst Neighbors, or Very Bad Trip manage to include it in ridiculous situations and grotesque. This is clearly not the case of BAD MOMS who play the ease.
The film is just so replicas of its secondary characters are all stereotyped. And despite all the sympathy one can have for its interpreters, they do not remain too limited. Kristen Bell performer Kiki’s timid lack of confidence. Kathryn Hahn is Carla and plays in a manner akin to Rebel Wilson in most of his films (last in date Single mode of employment) ; be politically incorrect and who cares about what you may think of it. Not seeking in any case to go in depth to the two protagonists, and not much more to Amy (her heroine), the film has quickly turned in a circle. And this is not the romance, which began with the “father as a student with a gun” or the rivalry growing with Gwendoline, who will provide anything interesting. It is not surprising in front of this blatant lack of originality and humor, true that the only ones to laugh with the BAD MOMS are the characters who make fun of their own jokes. Pretty pathetic to tell us when to laugh. Until the end BAD MOMS thus causes a deep malaise and remains only for a moment very annoying.
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