Rebel Wilson is much in the news for being outed. Good for her.Her brand-new Netflix feature which critics have actually disliked, is not such a terrible film, offered you approach it in the spirit that it is developed. We critics often make the mistake of applying the very same yardstick for all films. We can’t evaluate Jalsa next to Bhool Bhulaiya.
This Rebel-lius outing storms effortlessly into the citadel of silliness, and remains there lodged mischievously.Like a piece of chicken wedged in between 2 molars, Senior Year won’t go away no matter how much you tongue it.There is a spirit of pressing insouciance running through the outrageous film. It grabs you by your balls, never mind your gender, and does not let go.
Senior Year is a profane movie that takes potshots at institutionalized body-shaming. In high school it prevails practice for teens to compare muscles and breasts and to mock the bad inadequate soul whose hormonal agents aren’t on high alert.
Stephanie( played by Angorie Rice) will not take it lying down. She is virulently cosmetic in her mindset to life. She wants to be the sexiest lady on the campus.Playing cheerleader at a basketball event, Stephanie slips and falls on her head … and wakes up twenty years later. Stephanie is now played by Rebel Wilson who is a producer on the job. Thus from this point onwards in the pert cocky screenplay( Andrew Knauer, Arthur Pielli, and Brandon Scott Jones) it is Rebel who rules.
She is in her component, negotiating the time-passage comedy with lipsmacking relish. The very best joke about how much the world has altered, and even much better, not changed is when Stephanie looks at a magazine cover and exclaims, “Madonna now calls herself Lady Gaga?”
Right. Just as Lucille Ball now calls herself Rebel Wilson. And the time-travel comedy appears to have actually taken a trip a long method from Back To The Future. Senior Year is not ambitious sufficient to be compared to Back To The Future Or Time Machine or that Australian cult film on cultural metachronism Crocodile Dundee. However it is smartly written and a cool showcase for Rebel Wilson, although I will always preserve that Rebel’s closest comical competitor Amy Schumer is far more amusing, Rebel comes close to hitting a sixer with this one.
If only it had actually stayed with its smiles. Towards the end, Stephanie’s bete noire the prom queen from twenty years earlier (Alicia Silverstone of Clueless) appears as a taxi driver, consequently serving up a tawdry moral lesson on fate’s tough knocks which this blithe comedy could have done without.
