A woman struggling with insecurity wakes from a fall believing she is the most beautiful and capable woman on the planet. Her new confidence empowers her to live fearlessly, but what happens when she realizes her appearance never changed?
Pete and Debbie are both about to turn 40, their kids hate each other, both of their businesses are failing, they're on the verge of losing their house, and their relationship is threatening to fall apart.
After discovering her boyfriend is married, Carly soon meets the wife he's been betraying. And when yet another love affair is discovered, all three women team up to plot revenge on the three-timing S.O.B.
Despite having a love/hate relationship with her scoundrel of a father Gordon Townsend, the one thing Amy Townsend has grown up believing from him is that monogamy isn't realistic, he and Amy's mom who broke up due to infidelity when Amy was young. As such, she gets drunk and stoned frequently in her pursuit of indiscriminate sex, with an unstated rule that there is no sleeping over once the sex is over. Her current "boyfriend", Steven, believes they are exclusive, not knowing that she sleeps with other men. Working at sensationalistic magazine S'nuff under head sensationalist Dianna, Amy is in line for a promotion, she certain to get it if her next story meets Dianna's scrutiny. That story is a profile of sports doctor to the stars, Dr. Aaron Conners, it despite Amy knowing nothing about sports. To Amy's amazement, Aaron wants to date her following their first sexual encounter, his sexual history in terms of quantity which is in extreme contrast to her own. Also to her amazement, she...Written by
While filming the scene where Aaron and Lebron play one-on-one, Bill Hader actually scored on Lebron James. Hader was supposed to go in for a layup, and James was instructed to "destroy him" by director Judd Apatow. However, Hader successfully faked out James during one take and scored on him, though he later claimed that James was probably going easy on him. The scene is included in the DVD extras. See more »
When Amy attempts the running slam dunk, she lands face down with her left arm over her head and her right arm at her side, hand underneath her, not moving, as shown by the overhead camera. When Dr. Conner runs over, both arms are outstretched above her head, even though she hasn't moved. See more »
What I'm sayin' is you gotta go for it. You need to focus if you want to take it to the next level.
You have to, like you have to give it everything you got if you want this one, man. It's like, when I lost the championship in 2011, I worked on my game twice as hard; worked on my post-up game, and we wound up winning the championship. Twice.
Yeah, yeah... I don't feel like that applies to me but I... I appreciate the... the thought.
You gotta take a risk.
Yeah, no, you're right.
[...] See more »
The unrated version, approximately four minutes longer than the R-rated theatrical cut, extends six scenes. See more »
Schumer genuinely makes me laugh. I dig her show. But it turns out creating sustained, feature-length comedy is a different bag altogether.
I appreciate Schumer/Apatow's attempts at grounded, human comedy. This doesn't have to be as broad as say, "Spy", which was way more funny and, I think, thematically much smarter. But if you're going for grounded comedy then the characters have to be... well, interesting. And every single character in this is a one-dimensional shell. Each one has their role to play in the script and are nothing beyond that. The performances are strong, and the actors work hard to humanize their characters, but no person in this film is expansive or complex or terribly engaging or remotely unpredictable in any way. In fact, absolutely nothing is unpredictable in this film. So, for me, it comes off as not broad enough to be funny, and not genuine enough to be grounded.
Combine this overwhelming predictability, flat characterization and the sports-stunt casting with Apatow's habit for long running times, and an uninspired, robot-written third act, and you get a film that's more tedious than fun.
But Schumer herself is funny. And more than that, she's important. She's at her best when she's exploding the precious notion of female body imagery in joke after joke about bloody tampons and promiscuity. But the film lacks the courage of its star, which is a complicated criticism, since she actually wrote it.
There was the potential to make something outrageous and beautiful here. That potential was pretty much blown.
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