BAD TRIP – Review

So, Spring Break has officially…sprung, I suppose. Time for a road trip, if only virtually for many of us. And that’s what this new streaming comedy adventure is all about. Well, mostly since it’s got a few unique twists. First, rather than making Florida the final destination, the “sunshine state” is the starting point. Plus we’re dealing with a couple of thirty-something slackers, not frisky high-schoolers or “single and ready to mingle” collegians. Oh, and here’s a biggie: it’s all improvised, though the four actors are working from an outline as sort of a “plot map” similar to the Christopher Guest “mockumentaries” or HBO’s “Curb Your Enthusiasm”. Wait a sec, I said just four actors. Correct, because this is also a “prank” film, a new comedy designation popularized by the TV and feature film work of Johnny Knoxville (BAD GRANDPA) and Sasha Baron Cohen (last Fall’s BORAT SUBSEQUENT MOVIEFILM). In short, it means that the players are truly “keeping on their toes” by having to deal with real people who may have wildly unexpected reactions to their antics. So, buckle up for an East Coast trek that might take a few odd, out-of-the-way turns during what hopefully will not be recalled as a BAD TRIP.

Somehow this trip begins in reverse, a flashback actually to a year ago in a sleepy small Florida retiree town. That’s the home of Chris (Eric Andre) who is barely making ends meet while working his latest job at a car wash. His day’s drudgery is disrupted by the unexpected arrival of his high school crush Maria Li (Michaela Conlin). Chris is too scared to approach (and a bit humiliated by a work..uh..accident), but he vows to connect with her again someday. Meanwhile, his best pal Bud (Lil Rel Howery) is behind the counter at a computer supply/repair shop when his bullying ex-con sister Trina (Tiffany Haddish) bursts in demanding his “spare change”. After this bit of family drama, the story flashes forward to the present day and Chris’s present gig at a smoothie shop. And in walks Maria! But this time he musters the courage to speak to her, even asking her out for a coffee or cocktail. She demurely declines, telling him that she’s heading back to NYC for the opening of a big exhibit at her art gallery. And she gives him her card, in case he ever is in the area. Chris takes the card as a sign and an invite. He’s got to make his way north in the next 10 days for the gallery event. Chris convinces Bud to join him on the quest, although neither can afford a flight. If only they had a car, or could borrow one. After much pleading, Chris convinces Bud to get Trina’s car out of a long-term parking garage, since she’s away at a “long-term” correctional facility. But wouldn’t you know it, just as the guys hit the road, Trina busts out of the slammer. And where’s the first place she goes? The garage to retrieve her pink car, the “Bad Bitch”, naturally. And so begins an East Coast odyssey with Trina in hot pursuit of Chris and Bud as they embark on a series of misadventures along the way to Chris’ romantic ideal. But can they get to Maria before Trina gets to them?

If there were an acting award for bravery or at least fearlessness, then Mr. Andre would certainly be in the running for it, right alongside the BORAT duo. As Chris, he gives a performance mixing current tech savvy with a knowing wink to the slapstick clowns of a century ago. The guy simply and completely commits, hurtling toward the concrete at one point or enduring nightmare nakedness at another, well several points. And that’s not to mention the added “skeez” factor of bodily …fluids. And yet, in the middle of the chaos, Andre projects a child-like spirit, often evoking the optimism of an incurable romantic (I thought of Jim Carey’s “So I got a chance” from the original DUMB AND DUMBER). He’s great in the big action set pieces but really shines when plowing ahead in quiet scenes of humiliation especially when a quiet conversation turns into a wonky musical number. And though often needed as the “grounded” “straight man” Howery takes a near equal number of comedic risks as the picked upon Bud. He’s at his best when Bud frantically tries to hold on to his dignity as Chris seemingly “leaves the planet”. But he’s not a complete “doormat” as he emphatically insists that the plot of the movie WHITE GIRLS could really work. Still, Howery is the perfect “patsy” when dealing with the constantly furious Haddish, eschewing her talk show glamour to make Trina a truly endearing and hilarious villain. She’s a true “force of nature”, a whirling dervish of prison “tatts”, gold chains, and a beeping ankle monitor. And we can almost see the glee from her eyes as she intimidates and emasculates nearly everyone unlucky to cross her path (though her instant attraction to an officer is quite touching). Kudos also to Conlin who brings a real sweetness and surprising toughness to the role of the “fantasy girl” who knows when to give Chris a much-needed “wake up call”.

Reminding of the old “plate spinner” acts of classic TV variety shows, director Kitao Sakurai barely breaks any dinnerware as he captures the real reactions of the bystanders “on the fly”. Somehow he’s at just the right angle getting the most of “John and Jane Q. Public”. Of course, praise must also be given to the editing team who had to comb through hours of the same gags from different camera set-ups. Yes, the film has an episodic feel as though it was the best of a cable “candid camera” (with more “raunch”), but the actors never lose track of their characters’ established desires and dreams. That’s a tribute to the five writers (including Sakurai and Andre) who have carefully crafted the story’s structure, using great set pieces in the different cities and states. Complimenting the amazing actors, and often enhancing their performances, are the craftspeople and artisans, who had to fashion and control the on-camera effects (curtain and CGI don’t work in the “real”). Their efforts are nothing short of astounding, from the mechanical tricks to the makeups, and even some deft puppetry. If you stick around for the end credits, you’ll get a hint of their wizardry (most deserving of a home video bonus feature or two). And sure there are bloopers, but you’ll also see the same gags done with different “citizens” who didn’t react as hoped (one bar patron is seconds from throttling Andre). At 84 minutes it’s a sprightly quick trip and because of the many inspired talents involved, it’s far from a BAD TRIP. And it may make you think twice about taking that “selfie” at the zoo.

3 out of 4

BAD TRIP streams exclusively on Netflix beginning Friday, March 26, 2021