The stage adaptation Dicks: The Musical has plenty of laughs, but ultimately feels in love with its own outrageousness.
’s legacy in cinema is equally defined by its occasional meteoric successes and its many failures to launch, including both movies based directly on the show’s sketches and performers who couldn’t quite hack it as. Yet even when the show isn’t mass-producing megastars, there’s something to be said for its ability to ease certain comic styles into the mainstream so that they don’t feel wildly out of place when they show up in a movie.
The problem here is, Yang’s part feels shoehorned into a thin narrative, designed to pad the running time and boost the movie’s star power. Or maybe the problem is that Yang’s routine needs someone else – a scene partner; a Weekend Update anchor; anyone – to bounce off of. Or maybe the problem is that this is the kind of project calledthat features God delivering gay-culture wisecracks whose outrageousness quickly become predictable.
There are also a lot of laughs. Fundamentally, this put-on-a-show adaptation of an Off-Broadway musical has an infectiously goofy, what-the-fuck premise: Trevor and Craig are a pair of preening, hypermasculine, hyperselfish, just-plain-hyper salesmen for the same vacuum-parts company who discover they are identical twins . One grew up with their father Harris , while the other grew up with their mother Evelyn , and neither was ever aware the other existed.
Doesn’t that sound fun? Again: There are a lot of laughs. Several of the songs are showstoppers. So, unfortunately, is the direction of sketch-to-film veteran Larry Charles, in the sense that his clunky cutting all but halts the parodic rhythms of Jackson and Sharp’s compositions. Moreover, Sharp and Jackson take some getting used to without the soft launch of.
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