IMDb Synopsis
Eugene Bell is portrayed by Zach Cregger, a character that is a rather peculiar mix between a conservative and a high achieving high school student. Cast alongside Cregger is his girlfriend Cindi Whitehall, romaticized as the perfect love interest. They are both looking forward to what they hope will be sexually fulfilling prom night. While Eugene’s clumsy disposition along with his nerves inflamed by Cindi makes everything worse, his long planned ‘prom night’ doesn’t go as planned. Eugene has a staring problem and upon meeting Cindi, he falls down a set of stairs.
Zach Cregger and Trevor Moore of The Whitest Kids ‘U’ Know fame directed Miss March, a 2009 American Sex Comedy, which attempts to bring the absurd hilarities of their television to a full length ‘road’ comedy. Although the ‘critics’ hate it, it has gained mild cult fame becuase of its utter stupidity and outlandish characters.
Cregger and Moore’s new project features a protagonist that has a rather modern case of the ‘longway round’ style referencing Eugene. He miraculously gets in a car accident that puts him in a four year long coma. When he finally wakes up he finds his old friend and adult in wonderland trusty sidekick in a boy genius, turned pyro party monster adult. Along with this makeover, Former Goddess Cindi is now ‘Miss March’ sketchy claims to fame being dolled up as a playboy centerfold.
Despite facing dismay, Eugene is determined to win back Cindi and come to terms with the insanity Tucker has put him through. To confront her, he plans to embark on a cross-country trip to the Playboy mansion in Los Angeles. What comes next is a debauched and chaotic journey filled with sexually explicit humor, endangering encounters, and ridiculous characters.
While pursuing their goals, the duo battle scantily-dressed furious rivals, vengeful ex-girlfriends with a never-ending grudge, and a gaggle of female rap stars fronted by Tucker’s ex-friend turned nemesis Horsedick.MPEG, played by Craig Robinson. Each new circumstance pushes the duo further into the depths of decency-defying comedy.
Ultimately, the pair arrive at the Playboy Mansion. In the Mansion, Eugene looks for Cindi and discovers various incidents that went down leading to them disintegrating the relationship. As it turns out, Cindi doesn’t take the job of a Playboy model because she wants to abandon Eugene, but assumes he is dead. After a series of chaotic inflight misadventures and ridiculous battles with the other Playboy models, Eugene and Cindi manage to reconcile.
The movie ends with Eugene coming to terms with the new reality of his life and, after considerable internal struggle, begins the process of actively change his outlook on thinking—particularly in regard to his sexuality, personal growth, and self-acceptance. The film strives to encapsulate, often quite clumsily, the idea of friendship, change, self-forgiveness, and growth alongside self-acceptance, which creates tension with the film’s seemingly adolescent approach.
Cast & Crew:
Zach Cregger as Eugene Bell – Cregger is required to perform a major transition in his character from more innocent to far more sexually adventurous Eugene, who finds himself in bewildering situations having just come out of a coma. The film requires him to navigate between the disarray surrounding him and grappling with his bewilderment as the ‘straight man’ of the story.
Trevor Moore as Tucker Cleigh – As Cregger captures the silliest aspects of teenage humor through rollicking and almost irritating Tucker, Moore gets the honor of capitoning the more juvenile parts of the film containing the inane humor of Tucker, who is the best friend. Moore is the character driving the comedy in this film, with his character being the reason for almost every problem the group deals with.
Raquel Alessi as Cindi Whitehall – Once more, a Playboy model who Cindi is modeled after is not a yielding girlfriend or an understanding side. Cindi brings some tears of touchdown into the motion picture character which lacks only a few soft edges, but with such overwhelming flourish basically everywhere else.
Craig Robinson as Horsedick.MPEG – Rest assured Robinson’s hip hop subculture and parody characters have perpetually taken the most cartoonish and unforgettable as well as entertaining the story for this bust of a sculptor is known for. He carries forth his over-the-top extravagant in bone cutting humor which the film is sword embracing.
Molly Stanton as Candace – The on-and-off-in-a-relationship-with-Tucker girlfriend also suffers from her own pack of razors, like almost all but not really her uncontrollable and vicious anger. Spirited away on a trip seems stunningly chaotic and her addition to the cast does not make it easy.
Hugh Hefner as Himself – The Spin ‘N Pin was a favorite past time of one of my pension funds provides, but hired actors are wonderful. The patent clarity is Jack’s omnipresent peering while he shamelessly uses cameos where people are surprised into pronouncing while looking at the manor scenes which is inserted in the midst of the incredulous viewers.Broadway themed dildo fights pull me under: Wild Jeff: Change my mind on organ donation. The film’s opening credits feature Zach Cregger and Trevor Moore. The authors’ transitions into directorial roles will be marked by absurd – often profane, perverse – but nonetheless witty, comedy.
IMDb Critique Review and Ratings:
The IMDb rating of Miss March currently rests at the terrifying mark of 5.0. It seems that the majority of critics were simply mystified by the film, and thus deemed it unworthy of praise. In light of a punishingly neglectful, miss-morgan-turned-critca-ieve-dress-reception, unrestrained ridicule was directed at the movie’s juvenile wit, overtly sexual humor, and strikingly uncreative execution. The majority of critics contemptuously settled on one of the earlier raunch classics Amerocian Pie, Superbad, and Road Trip. They argue that Miss March did not do enough to differentiate itself from the onslaught of repetitively told stories within the genre.
Critics highlighted the lack of balance in pacing, reliance on shocking humor, focusing more on sweat and body odor than plot, and an overall weak script as the main problems with the film. Nonetheless, some critics seemed to overlook Robinsons’ parts in the film due to the heated controversy surrounding the bold, unapologetic humor. The movie was a hallmark for followers of the Whitest Kids U’ Know because fragments of jokes, while appearing incoherent, somehow managed to string together support in place of disjointed one-liners, surprisingly managed to capture the audience’s attention instead of loose ends that strung one-liners throughout the film.
It’s comical to argue that these loose pieces managed to make the film witty. The movie seems to have created an almost cult following among bad comedy lovers. With its multimillion dollar idea of ‘boundless entertainment’, combined with slapstick scenes, random celebrity appearances, and outrageous design concepts, along with its blatant disregard for basic creativity, the movie is set to find cuidadosamente shaped the visionless border on exposed streaming services.
Conclusion:
It seems that the unrefined distortion of reality makes Miss March stand out from any other film. The film attempts equally to disgust, shock, and entertain through crude humor, odd sexual interactions, and mindless filler intended to prolong the run time. Miss March is devoid of original narrative structure, and the sadness and laughter that underlies it serves as evidence of Cousins’ life as a sketch comedian.
Cregger and Moore’s first collaboration is defined by both the pair’s strengths and weaknesses, demonstrating the duo’s abilities. They make the right call about the interactions, timing, and overall chemistry of the two lead roles. Yet their lack of boundaries hinders them when attempting to stretch what should be a 90-minute story into a flimsy plot riddled with outrageous concepts. For those looking for unforgivingly absurd comedy, Miss March does provide an entertaining albeit uneven viewing experience.
For the average viewer, Miss March will be a crude and offensively preposterous experience. Turning logic on its head, the film gives the audience precisely what is deemed “immature,” which is a road trip to the Playboy Mansion depicted through the lens of unhinged hijinks from two friends. Undoubtedly, the motion picture sets a ridiculous premise for itself, culminating in peak absurdity that claims its home among studio comedies.
In essence, the film serves—perhaps reluctantly—as a product of its era, encapsulating the early 2000s in ‘sex comedies’ that sought to elicit gasps instead of laughter, since they relied on scrappy “gag-based” construction. Within that framework, however, it does carve out a space for some astonishingly mindless—yet hilarious—stunts that still make it more perplexing than convincing.
In the absence of more traditional punch-lines and endless buddy comedy tropes, Miss March ‘sound’ creatively adds to the sub-genre adding, at the very least, sparks to Moore and Cregger’s so called bounding obnoxious humor punctuated with absurd storylines.
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