Paul Weitz
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Con los inspiradores precedentes de John Hugues de los años 80 y la derivación paródica de American Pie (Paul Weitz, 1999), alcanzaría un cierto cénit en la cinefilia joven con Supersalidos (Greg Mottola, 2007), la historia de dos alumnos de instituto bastante pringados que deciden contra toda expectativa y esperanza organizar un fiestón.
It is usually the male characters who inject some change into them, be it Zack (Freddie Prinze Jr.) in She’s All That , Patrick (Heath Ledger) in 10 Things I Hate About You or even Oz (Chris Klein) in American Pie .
Its setup may seem rote – the sort of hook we’ve seen in so many of these movies, whether it’s “Can’t Hardly Wait,” “American Pie” or “Superbad” – but “Booksmart” takes that tired premise and makes it something entirely its own.
Es un relato tan viejo como el tiempo, o al menos uno que toma inspiración en clásicos como “Animal House”, “Revenge of the Nerds” y por supuesto, “American Pie”, pero que necesaria e inteligentemente se adapta a una audiencia más sofisticada.
Wilde’s smart directing choices and the bravery of her two fearless leads transform a series of comic set-pieces, usually seen in fare such as American Pie, into iconic character moments.
From the American Pie series to Superbad, generational coming-of-age films are nothing new, but rarely do they feature intelligent and driven young women, almost never in a positive manner, and heaven-forbid be rated-R.
As his pals (Zack Pearlman, Jacob Davich and Justin Kline) shadow him with video cameras, documenting even TMI moments that would better have been unshared, The Virginity Hit becomes a YouTube riff on the American Pie genre - a shaky-cam, Cloverfield / Blair Witch Project take on teen hijinks.
This is pretty much a total rip-off of the webcam scene from the first “American Pie,” of which this movie is more or less an update with slicker technology.
A repellent little “comedy’’ from writer-directors Huck Botko and Andrew Gurland and executive producers Will Ferrell and Adam McKay, the movie’s being marketed as “American Pie’’ for the Facebook generation.
Having established itself as a viable format for horror, the first-person handheld camera style is used for comedy in The Virginity Hit -- specifically the American Pie -type sex comedy, in which young people obsess about losing their virginity but manage eventually to learn to respect the opposite sex.
Some of the material is amusing, although nothing quite reaches the laugh-aloud level attained by "groundbreaking" sex comedies like American Pie .
The Virginity Hit is a patchwork of American Pie and a hundred familiar losin'-it/road-trip/beer-bong comedies, and it's often just as synthetic as any of them.
While we're used to seeing movies about boys wanting to "get busy" -- be that in the likes of the "American Pie" or "Porky's" franchises and many others of their ilk -- it's far rarer to find ones about girls as the aggressive leads.
But what really sets this film apart from nearly every other teenage sex comedy ever made, from “Porky’s” to “American Pie” to “Superbad,” is that this isn’t about some dude trying to get laid.
Then again, she’s aiming more for a girls’ take on “The Last American Virgin” or “American Pie,” a low bar to straddle.
It doesn't matter if it's a classic film like "The Summer of '42" or a broad comedy like "American Pie," there's one key ingredient in a coming-of-age movie: You have to like the person who's facing the big moment.
Because so many boys have done it so boldly, reveling in their risky business and risqué language — a low bar set long ago by the likes of "American Pie" and "Porky's" — the girls were overdue for some score-settling.
So we have a film with a serious look and a serious premise, which keeps interrupting itself for atonal, not-that-funny sex jokes that seem lifted from the “American Pie” series.
The raunchy romantic comedy, once Canada’s chief export, had a brief renaissance in the early 2000s with the American Pie series.
The title conjures teens and text-speak (Dat Awky Momo, anyone?), but writer-director Tom Gormican’s debut feature owes as much to Woody Allen as it does the American Pie movies.
The boys then make a pact to stay single for their bro, a lá American Pie (rom-com callback #2?).
The fatal flaw of this movie is that, rather than sticking to a plan and being a true film about the perils of dating and relationships, it wants to be the new American Pie.
“That Awkward Moment” wants to be part “American Pie” and part “Swingers.”
High Points: It’s surprisingly funny for another weak American Pie rip-off; Nicholas D'Agosto and Eric Christian Olsen make a hilarious pair; If you're under the age of 25 you’ll like it.
That counts as one of the better moments in this sloppy but moderately amusing attempt to cross the 2000 Kirsten Dunst hit with the raunchier brand of teen comedy that came in the wake of American Pie.
John Michael Higgins plays the idiot adult character (see Eugene Levy in the American Pie films) and Philip Baker Hall is on hand to say the "sh--" word as often as possible without ruining the rating.
Every decade or so we get a new, all-out, dirty-joke comedy about randy teenagers -- "Porky's," "American Pie," "Superbad."
It sounds like that the kind of thing that would have been right at home with the teen comedies of twenty years ago, or even the brief "American Pie"-ish revival.
But thanks to the Weitz Brothers (American Pie), certain standards have to be maintained by anyone who plunges into this genre and Gross's idea just isn't gross enough.
The movie's first half-hour, in particular, spends an unseemly amount of time ripping off American Pie -- parents walking in on that, characters slipping and falling on this -- with a devotion that would seem more at home in an eleventh grade screenwriting class.
A thoroughly clichéd virginity-deadline teen comedy with none of American Pie's trangsressiveness (it's hard, these days) and little of Superbad's intelligence, it nonetheless manages enough moments of inspiration to be passable, and has some performances with enough charm to make it likable -- or at least not detestable.
Yet even though the film is clearly B level - it's an amalgamation of other teen comedies, with pieces of newer movies like "American Pie" and "Superbad" sprinkled on top of the age-old romantic farce formula - it's a sunny story.
The horndogs from Porky’s to American Pie to Harold and Kumar are nearly identical - they want to get laid and have a good time.
Certainly, there would have never been an "Animal House" or a "Porky's" or an "American Pie."
It echoes all kinds of earlier teen flicks, from "American Graffiti" to "American Pie," and it has the lumpy construction of an oft-reworked script that's been knocking around for a long time with no takers.
Many movies about this theme have focused on male camaraderie on this quest, including American Graffiti, Dazed and Confused, and American Pie.
It recalls American Pie but with less nudity (in fact, there's none to speak of) and dialogue that is more clever and more profane.
Not only is “Superbad” one of the funniest movies of the year, but it also ranks up there with “Fast Times at Ridgemont High,” “Risky Business” and “American Pie” as one of the best teen sex comedies ever made.
While American Pie may claim the status as first film to make girls as gonzo as the guys pursuing them, Superbad is equally refreshing in this regard.
Set in a virtually unparented American everyburb, "Superbad" has a degree more sophistication than "Revenge of the Nerds" and "American Pie," and less than the underrated "House Party."
The film reminded me of a time when titles like American Pie and Harold and Kumar Go to White Castle could prove legitimate hits at the box office, or at the very least, develop a second life on video and DVD.
I’d be okay with these kids dominating the teen comedy scene going forward like The Breakfast Club crew did in the 80’s and the American Pie gang did for a spell after 1999.
Not only do Lucas and Moore borrow freely from their previous work, they owe a debt to better teen comedies, including “Risky Business” and “American Pie.”
Lucas and Moore push these pratfalls to the extreme, but the gross-out humour feels old-hat when measured next to earlier, funnier films like American Pie and Hot Tub Time Machine.
The characters are shaded versions of types we’re very familiar with from the American Pie series -- Miller is a less physically threatening Stifler, while Casey is basically a less incompetent Jim.
Cribbing from the likes of “Animal House,” “American Pie,” “Revenge of the Nerds,” “Superbad,” “Ferris Bueller’s Day Off,” “Old School” and “The Hangover,” this movie takes beats from all these films and fuses them into something that is able to stand all on its own.
Fast Times at Ridgemont High (1982)
Directed by Amy Heckerling
influenced American Pie (1999)
Plot Themes Visuals
Jim (Jason Biggs)’s storyline also borrows heavily from the Farrelly’s movies (mostly “There’s Something About Mary”) and various other teen flicks like “Fast Times at Ridgemont High”, but at least it’s hilarious.
But with a healthy sense of humor about youth and sex, this movie will earn a coveted spot next to Fast Times at Ridgemont High in every college kid's video collection.
The following year offered Fast Times at Ridgemont High, with a similar menu of sexually explicit gags and innuendo.
It’s hardly the graduating class of “Fast Times at Ridgemont High.”
It's as if the final print of Fast Times at Ridgemont High had been directed by the Farrelly brothers: Damn the torpedoes.
The film’s opening scene is an homage to American Pie as Max is staring at animated boobs on a computer and his dad barges into the room.
The result is offensive enough, I suppose, but in a patently inoffensive manner that practically begs reviewers to describe it as “sweet” as they did two decades earlier with the likes of “American Pie.”
Great examples that come to mind include She’s All That, Mean Girls, 10 Things I Hate About You, Easy A, American Pie, Superbad and Booksmart.
Of course he’s interrupted by his goofy dad (Will Forte)—shades of “American Pie”—who promptly congratulates him on growing up before going off on a business trip and warning him not to touch his drone (you’ve heard of Chekhov’s gun; here’s Chekhov’s drone).
Yes, it is that important, and will arguably go down in the annals of teen comedy greats, right alongside the kings of teen raunch-com, Superbad and American Pie .
There is, despite countless American Pie and Road Trip spin-offs arguing otherwise, an art to shaping R-rated comedies.
To put it another way, Premature is far, far better than a film mashing together Groundhog Day and American Pie has any right to be, and I commend it for that.
The comedy seems like a raunchy mimicry of "Groundhog Day" and R-rated comedies over the past 15 years including "Neighbors," "Hot Tub Time Machine," "Superbad," "Van Wilder," "She's Out of Your League," and "American Pie" all come to mind while watching "Premature."
The tits-and-zits genre, revived by American Pie, is fundamentally masculinist in way that feels uncomfortable post-Isla Vista, portraying a world in which the problems of men don't just supersede those of women; it's a world in which only men have problems, of which women are one.
A teen sex comedy unapologetically indebted to "Groundhog Day," Beers' giddy feature embraces the sophomoric tradition of "Porky's"-era horny male humor with a warm, consistently funny attitude, like a scrappier version of "American Pie."
Imperfect, yet energetic and complete with big laughs and heart, if you’re nostalgic for the American Pie flicks, Premature will do the trick.
The story of a young man who gets stuck in a time loop that is only ever reset when he orgasms, the film will probably be tiresomely described as “Groundhog Day meets American Pie”, though this only slightly eclipses the latter for the sheer fact that it seems kind of sincere, despite its vulgarities.
It skillfully employs a broad mix of pop tunes, much like John Hughes' movies did, going so far as to pay a couple of homages to The Breakfast Club , most evidently when the prom band covers Simple Minds' "Don't You (Forget About Me)."
In the pantheon of teen comedies, "American Pie" doesn't come close to measuring up with the '80s John Hughes flicks, like "Sixteen Candles" (still my favorite), "The Breakfast Club," or "Ferris Buellers Day Off," nor is it quite as satisfying overall as the recent "10 Things I Hate About You," but this film is actually different than those.
It’s this overt quality that brings to mind the visual puniness of David Zucker (“The Naked Gun,” “Airplane!”)
There's Something About Mary (1998)
Directed by Bobby Farrelly
influenced American Pie (1999)
Themes Plot
Herz and Weitz have decided to teach us a few things about getting some - namely that if you can't actually remember how awful it was not to be having sex in school, copping other movies' memories of it is a good plan B. Their film makes the inevitable nods to "Porky's," "Revenge of the Nerds," "Meatballs" and John Hughes, while aiming for the crassness of "There's Something About Mary" - which, never mind the haters, is proving to be the feel-good movie of nearly any year.
While I'm sure its makers would love to see their film compared to last summer's surprise hit "There's Something About Mary," especially since both trade on jokes about autoeroticism and toilet humor, "American Pie" is to "Something About Mary" what Homer and Jethro are to Aristotle.
Jim (Jason Biggs)’s storyline also borrows heavily from the Farrelly’s movies (mostly “There’s Something About Mary”) and various other teen flicks like “Fast Times at Ridgemont High”, but at least it’s hilarious.
Its most outlandish scenes do not surpass envelope-stretching sequences from 1998's There's Something About Mary and Happiness.
The film is likely to entertain teens who are already thinking about sex, and its gross-out humor will appeal to fans of There's Something About Mary.
I actually find this give-and-take treatment of sexual longing preferable to the single-minded fetishizing of the nearly perfect, underwear-clad girl-next-door-glimpsed-through-the-window endorsed by There's Something About Mary.
Of course, the old T&A show has recently morphed with the gross out comedy popularized by the likes of the Farrelly brothers resulting in pictures such as "American Pie" that combine sex and scatological material for the "viewing pleasure" of their target audience of those hormonally charged viewers.
Could that foreign-exchange chick from American Pie actually act her way through a movie with all of her clothes on?
So he schemes to get Kyle married off to the only girl who seems to have made an impression on him, Natalie (Shannon Elizabeth, from "American Pie" and "Scary Movie").
From among the steady parade of women Kyle has bedded, Michael tracks down Natalie (American Pie's Shannon Elizabeth), a police officer who Kyle says may have been the one true love of his life.
The tags " sexist " and " misogynistic " might prove too slight for Gregory Poirier�s American Pie wanna-be, which boasts, " The three words a woman wants to hear most are . . .
Knowing that the Tomcat fund is up to almost half a million dollars, he decides to reunite Kyle with an ex-girlfriend named Natalie (Shannon Elizabeth, American Pie ), hoping that Kyle will pop the question and lose the prize.
At heart a mildly sentimental romantic comedy, it has been pushed hard in the "American Pie" direction with gross-out humor, general crudeness and "hey dude" dialogue.
Beyond that, there's an air of Farrellys at work as it delivers a number of raunchy moments that would easily fit into an "American Pie" movie, and it's far more successful at mixing raunch with romantic moments that would allow frat boys to bring dates without them being completely offended.
Your bar conversations become American Pie meets Knocked Up meets There's Something About Mary .
It’s more American Pie sequel quality.
There are too many times that the film couldn’t seem to decide whether it wanted to be a romantic comedy or a crude successor to American Pie.
Director Jim Field Smith lifts his best beats from Judd Apatow, and his worst from American Pie.
Focusing more on the 'sex' aspect, rather than the romance one (even though there is a bit of that too), "American Pie" is more reminiscent of the various '80s raunch-fests, like "Porky's" or "The Last American Virgin."
The time was the early 80s, when films like Porky's, Losin' It and The Last American Virgin celebrated the adolescent male in all his sex-obsessed glory.
A scene involving Kayla and the family fruit bowl echoes of American Pie , while a mall foodcourt discussion about the "generation gap" between those born in 2001 and 2005 is hilarious.
She also develops the urge to explore her sexuality in hopes of attracting the attention of a boy she is crushing on who, unfortunately, is only interested back because she, under a facade, expresses comfortably sending lewd pictures, also leads to the greatest sexual moment with food since THAT scene in American Pie.
A classmate Kayla fancies – he’s an aloof, boring-looking kid with intense eyes – thinks nothing about discussing her proficiency at oral sex as a prerequisite for dating, which sends her to YouTube tutorials and a scene with a banana that comes within a whisker of becoming a new take on American Pie‘s titular set piece.
A banana is to Eighth Grade what a warm pastry is to American Pie.
Taking the nerdy-kids-throw-a-party-and/or-try-to-get-laid template of films such as American Pie and Superbad , Nourizadeh and screenwriters Michael Bacall and Matt Drake strip the formula down to its bare essentials, dispensing with such niceties as character development, life lessons, and any sense of responsibility.
At the end of movies like "American Pie" and "Sixteen Candles," you came to really like those kids who partied too hard and woke up the next morning forever changed.
Together, they become this generation's boozy Three Stooges in this generation's "House Party" or "American Pie."
In the ’70s it was American Graffiti, in the ’80s, Sixteen Candles, in the ’90s, American Pie, in the ’00s, Superbad, and now, in the ’10s, it’s Project X .
Otherwise, Project X is short on fresh characterization, and it didnt have to be that way; Dionysian bashes from Animal House to American Pie found some quirks in their kids.
Where some films (like “American Pie”) feature a key party scene, and other films (like “Superbad” and “Can’t Hardly Wait”) feature an all-night party as the key plot element, they always have more things happening.