The first five minutes of the Change-Up-a terrible sight to the world of baby-care end, complete with a superstructure for the most grotesque images ever captured on film face sums up the film's Bait and Switch. In most comedies, this scene would be the first step in a descent into hell that only Paul Blart: Mall Cop and Adam Sandler are able to accomplish. In Change-UpIt'sa sequence that sets the bar as low as artistic as possible, so that stars Jason Bateman and Ryan Reynolds can obliterate expectations with only fresh, shocking and hilarious comedy stylings. Simply put, Change-Up is the film sjoveste years af.
Bateman plays Dave Lockwood, a run-of-the-mill lawyer who works too hard, juggling his duties of parents and struggling to find time to tell his wife he loves. Dave's best friend, Mitch (Reynolds) could not't be more opposite of the couch all day and use their conscious hours wooing sexual partners, while stoned out of your mind. The two are polar opposites, which makes them perfect candidates for a little switcheroo spell. A particularly devastating night of alcohol and groans life's misery ends with the duo taking a leak in a magical source (use it). Fate, of course, intervene and when Dave and Mitch wake up they find themselves trapped in another body's.
There's denial Change-Up continues Freaky Friday Formula-but's a bug. The logic is already established allowing Bateman, Reynolds and director David Dobkin (Wedding Crashers) The freedom to jump directly to the hook gross humor. Bateman, who's becoming a go-to man just in Hollywood, a refreshing option in the habitable Reynold \ discoveries' s Mitch. The character's lack of self-censorship will open the floodgates for Bateman to the surface some poetic words of the English language's more terrible phrases. A dictionary of slang may be necessary to understand what synonyms are part of the foreign body to be released at a rapid pace in this film. If you understand them or not, when they leave Bateman's mouth, they're invaluable.
Same goes for Reynolds, who escapes the box fast talking womanizer to play the family man nasty. To judge an actor's versatility on stage, where it's reluctantly placed in the center of one'Lorna"(read: low-budget soft-core pornography) may seem twisted, but Reynolds sells it and makes it perfect distressing. Even the obvious scenarios such as,"Uh oh, Dave's have to beat his wife to Mitch's body!"Is a twisted, two, three times to pull the rug out from under you.
The biggest surprise Change-Up is the heart of the film's. Pummeling an audience with jokes is one thing but to sell in genuine relationships becomes rewarding. The faltering friendship between the two leads is palpable knuckleheads, and keep an impossible plot device grounded, while Leslie Mann (Knocked Up, Funny People) As Dave's wife, Jamie, has its fair share of moments of tenderness (and diabolical laugh there'because a husband Judd Apatow continues to launch it). In a film that's built by the rules book to get an ending that resonates with any kind of emotion is as surprising as seeing a grown man throwing a baby next to a set of knives. Which, coincidentally, also happens in the movie.