Get Him To The Greek
“Are you fucking kidding me?”, asks one smart woman early on. In “Get Him to the Greek”, the jokes come with a nauseated rapidity, but it’s simply not funny.
Tenuously continuing on from “Forgetting Sarah Marshall”, Russell Brand once again stars as Aldous Snow with Jonah Hill now starring as Aaron Green, an executive at a record label that eventually backs his idea to hold a tenth anniversary concert at the LA Greek and attempt to resurrect Snow’s now floundering career. Because it wouldn’t be entertaining without a deadline, Aaron has 72 hours to get Snow there with several misadventures happening along the way.
To say that the premise is light is an understatement, with everything in it screaming it was over-thought. Usually such atrocious sequels are given 90 minutes or so to do what they set out to do but here, despite it not being significantly longer, it feels as if it’s going on for days. Joke after joke trudges out of the mouths of characters who are either over-reaching in how they’re portrayed by the actors or more simply, just aren’t funny to begin with. I’ve never bought into Judd Apatow’s ilk of comedy writing, believing that there are only so many times gay jokes or those about bodily fluids can be made before they’re insulting the collective intelligence of the audience but here, it goes beyond that, with jokes about rape, suicide and much more.
Certain set-pieces, such as a trip to Vegas and a particular threesome are so absurd, they’ve changed direction and become so completely pedestrian, unable to must even an uncomfortable giggle. What’s more is that by spending so much time on this nonsense, character development is at best choppy, meaning that when the deeper moments occur there is little to be interested in and these too make so little sense in resolution that it’s impossible to to figure out if they’re ever being serious or if the writers are that untalented.
Brand, despite being a comedian, appears to be on autopilot for the entire piece, uninterested by what’s going on. He isn’t helped by the already poorly established writing, but neither does he appear in any way invested in the action. Hill, whether by design or stupidity, looks so unintentionally uncomfortable that the likelihood of anything he says being funny is shelved early on. Minor roles go to Elisabeth Moss and P Diddy, both of whom evidently revel in the supposed comedy but inevitably add nothing except more clutter to this pointless journey.
Rarely do I see a comedy without any redeemable features, so bereft of workable material that there wasn’t even anything entertaining in how bad it was. But just like Snow’s “African Child” album which was described within as the worst thing to happen to Africa other than famine and war, “Get Him To The Greek” can be added to the already appalling output of Apatow and his hipster cronies because here stands one of the worst things to happen to comedy in decades.