The film is stupid in a much less joyful way than Jeff Tomsic’s similarly themed Tag.
When it decides to sober up, the film’s comedy lurches into awkward attempts at melancholy.
Peter Farrelly respects the severity of the characters’ social context while ensuring that Green Book never steps outside its protagonists’ relationship.
This sequel makes the most of Harry and Lloyd’s broadly neutered existence.
In the hands of the Farrellys, the Stooges are, unsurprisingly, made into totems of the duo’s favored themes and values.
For its first third, Hall Pass zips along crudely but amiably on its sitcom-episode conceit.
True to their reputation for collapsing taboos, the Farrellys have reliably injected hitherto verboten crudity into the cinematic bloodstream.
Come for Jimmy Fallon and Drew Barrymore but stay for the Farrelly brothers’ signature brand of romantic humanism.
The more elegant Bobby and Peter Farrelly’s films have become, the less money they’ve managed to rake in at the box office.
Leave it to the Farrelly brothers to make the most profound ode to brotherly love since the Taviani brothers equally naughty Padre Padrone.
It lacks the comic mastery of Kingpin and Shallow Hal’s cutting insights about body image, but it’s still a big-hearted charmer.
The only misstep in Shallow Hal is that it naïvely explains its titular chauvinist’s superficiality as product of saucy father love.