The Forgetting What's-Her-Name Post

Forgetting Sarah Marshall is a hilarious disaster comedy centering around a likable everyman losing is unfairly hot girlfriend to an eccentric rock star. Peter (the dumpee) takes the news understandably hard, and decides that a Hawaiian getaway was the only way to break out of comically tragic downward spiral of self pity. Good idea…but his ex is staying at the same hotel. Ruh-roh! Calamity ensues. While this might not sound like the best of predicaments for a comedy, I have to assure you that this is one of those laugh out loud movies that you can enjoy over and over (not that I’ve seen it more than once).

The cast clearly work well together and take on their roles perfectly. Jason Segal takes center stage this time around having been largely a supporter of his co-stars, and plays the role of the dumped-everyman perfectly. His timing is perfect and he brings out the best of everyone making the littlest thing absolutely hilarious. While IMDB-ing names for this review I also found that he wrote the script too. Nice one you over-achiever you!

While the ladies in the film (Kristen Bell and Mila Kunis) are both awesomely hot and do a great job, its the supporting cast that really have your sides splitting. Funnyman Russell Brand plays Aldous Snow, the ridiculously overcooked British rocker character and absolutely steals every scene he is in. Imagine the maladjusted offspring of Jack Sparrow and David Brent (the Office) and you are on the right track. His in-film music videos are absolutely priceless and feature lots of pelvic thrusts at nuns and holding of signs that read ‘sodomize intolerance’, so that gives you a bit of an idea. Paul Rudd’s surf instructor and Jonah Hill’s waiter are brilliant as well.

The only thing I fault this movie for is that despite its best efforts it seems to not reach the bar set by Knocked Up, Superbad and 40-Yr-Old-Virgin as far as being a memorable movie (which is rather amusing considering the title). But keeping in mind that those movies pretty much set the bar for modern comedies at the moment, that’s not selling this one short by any means. It’s just not unique enough to stand on its own when looked at outside of its family of recent Apatow-crew releases.


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