Review

BAD MOMS – Review

The film’s opening seems like an update of Pure Prairie League’s soft rock classic “Amie, What You Gonna’ Do?” as the story’s main heroine Amy (I know, different spelling), played by Mila Kunis, gets us up to speed with her non-stop life. She married young and had the first of her two kids at 20. Now she’s the main breadwinner, with a part-time (stretched to full, really) job at a hip, happinin’ coffee company (she’s the oldest one there!). Although her hubby Mike (David Walton) is a stay at home dad (he does a occasional real estate brokering gig online), Amy’s the one doing the brunt of the household work and helping with their two tween kids, aimless Dylan (Emjay Anthony) and stressed overachiever Jane (Oona Laurence). Plus Amy must put up with the sneers of the trio of perfect moms who seem to run the school. They’re lead by queen bee (more like the canine rather than the flower “pollen-ator”) Gwendolyn (Christina Applegate), who’s never without “right hand” woman Stacy (Jada Pinkett Smith) and dim “yes-woman” Vicky (Annie Mumolo). One especially trying day, Amy has had enough and does the unthinkable: she says no to Gwendolyn after being assigned an after-school chore. This catches the attention of a couple of other put-upon mothers. At a watering hole, Amy meets up with wild, “free spirit” (some would say “loose”) single mom Carla (Kathryn Hahn) and the timid, shy stay-at-home mother of four Kiki (Kristen Bell). The three quickly bond and eventually decide to challenge the reign of Gwendolyn by helping Amy unseat her in the upcoming election for president of the PTA. Fireworks ensue as the trio tries to unite all the “not so perfect” parents.

Kunis makes for a most appealing leader of the charge, fierce and strong without hiding her vulnerable side. Amy fears that she’s not doing everything she can for her kids even as she realizes that her own desires and hopes are not being fulfilled. Kunis shows us how a spark is lit that ignites a change for her and the other shunned parents. Bell brings a naive sweetness to the sheltered Kiki, a woman treated more as a servant than partner by her surly husband. They’re both great, but the movie’s real “life-force”, the “loose cannon” is the fabulous Hahn as the lady who cares nothing about what is said about her. Reputation? She doesn’t give a flying…, ya’ know? For all her unfiltered chatter, she can’t restrain the unconditional love she has for her sweet hulk of a son. Hahn has been wonderful in good movies and lousy ones, too. Here’s the breakout role that will make people remember her name. As for the villains (perhaps the adult version of the “Plastiques” clique from MEAN GIRLS), Applegate makes a devilish evil mastermind, her eyes dart about as she hatches another scheme to keep her in power, all the while making sure that no hair is out-of-place. Pinkett Smith keeps right up with her, always ready with a sneer or catty comeback. Mumolo (the co-screenwriter of BRIDESMAIDS) does well with a role similar to her character in last April’s THE BOSS, but with less aggression and intelligence as she always seems  mentally unable to keep with her cohorts. Laurence (so heart-breaking in last year’s SOUTHPAW) pummels our emotions once more as the sweet li’ girl who just needs to lighten up. Walton is endearing and aggravating as Amy’s slacker doofus of a mate (a guy at home alone with high-speed WiFi, what could happen?).  And to add more spice to the frothy mix, there are wonderful comic bits and cameos from vets Clark Duke, Wendell Pierce, and the great Wanda Sykes, all true comedy all-stars.

With their second feature film as directors (21 & OVER was the first), screenwriter Jon Lucas and Scott Moore (they did pen the THE HANGOVER) have proven that they can deliver a film that tackles more adult concerns and situations without sacrificing the laughs. Of course, having this powerhouse cast helps considerably, but Lucas and Moore get to the emotions bubbling beneath the comic surface. They want that “us versus them” structure of an ANIMAL HOUSE, but they try to show the shades of gray, saying that the villains have a reason for their deeds. Unfortunately, like many current comedies, they too often rely on the montage to “cut to the chase”, a short-cut eliminating dialogue to go right to a visual short hand. Two overly long sequences blast a rock ‘n’ roll party anthem while the ladies cavort in slow, slow motion, often abruptly speeding in to hammer a bit of slapstick. It will attain the laughs, but what truly works is when the three lead ladies simply talk. This is especially true when Kiki and Carla try to prep Amy for a night on the town, combining encouragement and astounding raunch. The story moves at a good clip, dodging the usual “lull” at the hour mark or so. Perhaps the film makers hoped to give a “happy ending” to everyone, so a character isn’t justly punished for a truly heinous act, which denies the audience a bit of catharsis (a much-needed big showdown never occurs). Still the laughs are big (despite a way too generous sprinkling of “F-bombs”), and the cast is most engaging (hooray for Hahn), so expect to have a good, raucous time with some BAD MOMS.

3.5 Out of 5