Rewritten search synopsis:
Directed by Trevor Moore and Zach Cregger of The Whitest Kids ‘U’ Know fame, Miss March is a 2009 American sex comedy. The film sought to take the crude glories of their television’s absurdities and attempt them on a feature-length road comedy. Even when it is considered a critical failure, Miss March had gained minor cult fame due to its glaring antics, out-of-line characters, and unapologetic tone.
The story centers around Eugene Bell (Zach Cregger), a conservative and a promising high school student with a deep romantic relationship with his girlfriend, Cindi Whitehall. The two lovebirds are poised to celebrate consummation on prom night, but things go haywire. Eugene, with his harsh case of nerves thanks to Cindi, has an overly awkward encounter with her and ends up falling down the stairs.
Eugene now finds himself in a drastically altered world. After four years in a coma, he wakes up in a hospital bed, only to learn that his best friend, who was the level-headed Tucker Cleigh (Trevor Moore), has morphed into a pyromaniac-slash-party animal that had never grown up. Additionally, his beloved girlfriend Cindi is now known as “Miss March” and has become a Playboy centerfold.
While dismayed, Eugene is set on a mission to win back Cindi, and resolve the insanity that Tucker has put him through. He plans to go on a cross country trip to the Playboy mansion in Los Angeles to confront her. What follows is a ridiculous, debauched and chaotic journey filled with sexually explicit jokes, dangerous encounters, and absurd characters.
As the duo works towards their goal, they face scantily clad angry rivals, vengeful ex-girlfriends, grudge-holding firefighters, and a posse of female rap stars led by Tucker’s ex-friend-turned-nemesis, Horsedick.MPEG (with Craig Robinson starring as the lead). Every new situation the duo finds themselves in approaches chasms of absurdity and outragoe, shattering the bounds of comedy and decency as we know it.
Ultimately, the pair arrive at the Playboy Mansion. At the mansion, Eugene searches for Cindi and learns about the many events leading to their falling apart. It turns out that Cindi did not take up a job as a Playboy model because she was abandoning Eugene, but because she thought he was dead. After multiple hilariously chaotic inflight misadventures and a crazy battle with the other Playboy models, Eugene and Cindi make up with each other.
The film concludes with Eugene adjusting to the new reality of his life and, after much deliberation, begins to take steps toward actively embracing change in thinking—especially regarding sexuality, personal development, and self-acceptance. The attempt to encapsulate the story in its diverse driving elements of friendship, change, self-forgiveness, and growth stands at odds with the film’s mostly adolescent delivery.
Cast & Crew:
Zach Cregger as Eugene Bell – Cregger’s role marks the shift of the character from innocence to a more sexually liberated person as he finds himself in the strange circumstances after coming out of a coma. The film requires him to balance bewilderment at the chaos around him with stoic acceptance as a ‘straight-man’ archetype.
Trevor Moore as Tucker Cleigh – Moore gets the honor of captioning the most juvenile humor in the film as the loud, reckless, and borderline obnoxious Tucker, who serves as a best friend. Moore is the character driving the comedy in this film, with his character being the reason for almost every problem the group faces.
Raquel Alessi as Cindi Whitehall – Playboy models tend to scrub their pasts clean, and Cindi is neither a succumbing girlfriend nor an understanding figure. She adds some sentimental grace to an otherwise over-the-top character in the motion picture.
Craig Robinson as Horsedick.MPEG – Robinson’s hip-hop subculture and parody characters keep being one of the most cartoonish and unforgettable of all in the telling of this tale. He does not abandon his intention of going full throttle in extravagance in humor – piercing the bone with the style of comedy the film embraces.
Molly Stanton as Candace – The on-and-off-in-a-relationship-with-Tucker girlfriend also suffers from her own pack of razors, vicious anger being one of them. Spirited away on a trip becomes stunningly chaotic, not helped by her addition to the cast.
Hugh Hefner as Himself – The Spin ‘N Pin was a favorite pas time of one of my pension funds provides, but paid actors are fascinating. The cameo brings patent clearness and consistency with the cameos jack openly plays in the mansion scenes under the disbelief of viewers.
Broadway inspired dildo fights pull me under: Directors’ Change my mind on organ donation: Jeff Wild. Zach Cregger and Trevor Moore: The opening of these authors into the directorial world will be gained in absurd, often vulgar, humor – but still humor.
IMDb Ratings and Critique Review:
As for the IMDb rating of Miss MArch, it rest at a jarring 5.0. Critics have for the most part been mystified by the film, deeming it unworthy of praise. In light of a punishing critcal reception, the movie was attacked for its immature jokes, overt sexual behavior, and lack of creative thought across the board. Most critcs contemptously selected older raunch classics such as Amerocian Pie, Superbad, and Road Trip. They claimed that Miss March did not do enough to differentiate it self from cliche stories told multiple times within the same genre.
Critics sighted over-reliance on shock humor, poor pacing, a stronger focus on body odor and sweat rather than plot, and a flimsy script as the main issues with the movie. Even so, some gave Robinson a free pass with the debate surrounding the blistering and bold humor of the film. For followers of Whitest Kids U’ Know, the movie provided a broadband access by most people as the fragments of jokes seemed to appreciate as an ensemble, surprisingly, captivated the audience instead of loose ends that stringing one-liners threw throughout the film.
Amusingly, we can call bits and pieces witty. Over time, the movie is said to have obtained something close to a cult signature for fans of weak comedies. Its outrageous premise paired with the witless antics of the characters webbed itself as compeitive along with comes the the multimillion dollar idea of wastless boundary entertainment alunos they may find some exposure, adorn even further elevating the movie’s slapstick scenes, random celebrity portrayals, and absurd design concepts give it a specialized attentive on streaming services.
Conclusion:
Perhaps it’s the reckless embrace of chaos, vulgarity, and absurdity which makes Miss March a one-of-a-kind film. It tries equally hard to shock, offend, and amuse using crude gags, strange sexual encounters, and mindless detours to stretch out the runtime. Screaming divorce from narrative originality, Miss March seems to lack cohesion, relentless sadness, and laughter embedded in its core proves the roots of Cousins’ sketch comedy life.
The Cregger and Moore duo demonstrate a blend of strengths and weaknesses that embody their debut as a team. Their instincts are on-point when it comes to timing and chemistry between the two leads. However, their boundless grasp leads them to try expanding a 90-minute story for the sake of a loose plot and a few outrageous ideas, exposing the limits of their creativity. But for viewers who seek some of the most absurd humor possible, Miss March grants an entertaining (although a bit unbalanced) experience.
Average moviegoers are in for a surprise flow: the plot is preposterously offensive and crude. Pushing conventional logic aside, Miss March guarantees its audience exactly what is deemed “immature” – two friends taking a wild road trip bursting with unfiltered absurdity headed for the Playboy Mansion. The film showcases its true nature stretching boundaries with studio-made comedies, standing out amongst the them all.
Ultimately, the movie illustrates its production period – a snapshot of the cursory 2000s sex comedies that prioritized mere shocking moments instead of craft. However, within that structure, the movie manages to offer moments of jaw-dropping ridiculousness that establish it as an odd but fascinating addition to the genre’s collection.
Given Moore and Cregger’s outrageous brand of humor and the cannot-be-missed obandonry of buddy comedies, their work Miss March may indeed add sparkle to their comedic repertoire and make the journey worth it.
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