"You know, I thought I'd outgrown this kind of behavior,'' Jim (Jason Biggs) says about halfway through American Wedding, at which point you're likely to feel the same way. The sequel to American Pie and even more pathetically the sequel to American Pie 2, Wedding struggles so hard to be tasteless that it's almost quaint. (Don't, however, presume such a remark to be a compliment; you'll see better film on ponds.)
The key word in that sentence, however, is "almost," which could also be appended to the noun "movie.'' In a summer of sequels that included follow-ups to Charlie's Angels, The Terminator and Legally Blond, Wedding is so reiterative that it suggests the kind of compulsive behavior that often requires psychiatric counseling. (What's next? Mayberry: CSI?) And this is keeping in mind that there were also a pair of Porky's sequels, the idiot cousins with which the Pie opuses have something in common.
In Wedding, Jim has proposed to Michelle (Alyson Hannigan). Their friends show up to support the happy event -- actually, Jim's friends Paul (Eddie Kaye Thomas) and Kevin (Thomas Ian Nicholas), since Michelle's friends were apparently able to slip out of whatever obligations might have forced them to return for this
PHOTO COURTESY OF UNIVERSAL
Morale seems to be so low on the set that the cast might as well be clearing away shelf space at Blockbuster for the eventual spot of dishonor Wedding will assume.
Things have reached such a precipitous pitch that Stifler (Seann William Scott), the goat boy who annoys just about everyone, has been elevated to co-star visibility, a state that shows exactly what a turn this series has taken. Stifler pretends to be an intellectual yuppie in order to seduce Michelle's sister (January Jones), a young woman who happens to be named Cadence. The only funny thing about this is that her parents (Fred Willard and Deborah Rush) have the nerve to be snooty.
PHOTOS COURTESY OF UNIVERSAL
The movie grinds slowly, inexorably toward the bawdy, bad-taste shenanigans that observe the decorum usually found only in the letters section of Penthouse Forum. The limp, boring jokes are relentless. The makers of Wedding have so effectively managed to make offensiveness seem tame that this could be subversion financed by the religious right.
Displaying the patience of Job is Eugene Levy, who returns as the wise but tightly wound character known as Jim's Dad, a move that was inspired casting in the first film and now seems to be taxing even Levy's professionalism. (This is the kind of thing he used to parody during his glory days on SCTV.)
With any luck American Wedding should finally finish off the series. And if any potential Project Greenlight contestants are watching, remember to remind that show's pit bull figure, Chris Moore, of his producer credit on this picture when he gives you a hard time.
Directed by: Jesse Dylan
Starring:Jason Biggs (Jim Levenstein), Alyson Hannigan (Michelle Flaherty), January Jones (Cadence Flaherty), Thomas Ian Nicholas (Kevin Myers), Seann William Scott (Steve Stifler), Eddie Kaye Thomas (Paul Finch), Fred Willard (Harold Flaherty), Deborah Rush (Mary Flaherty) and Eugene Levy (Jim's Dad)
Running time: 102 minutes
Taiwan Release: Today
It has been 26 years since Nicholas Gould hosted his last Issues and Opinions radio show for ICRT a recording studio on Roosevelt Road. He remembers the familiar ‘whoosh’ as the door to the soundproof room closes and recognizes the carpet, but the recording equipment is gone, with half of the space being used for storage. Gould is filled with nostalgia as he greets his guests, two financial writers who are here to discuss Taiwan’s post-COVID-19 economy for his new podcast, Taiwan Matters. Gould had been thinking of revisiting his old career for a while, but being allowed access to
The 22nd Taipei Arts Festival (臺北藝術節) opens tonight with three productions, a slightly scaled-down pandemic version that seeks to keep its tradition of big ideas, challenging programs and international connections alive and moving forward in an increasingly uncertain world. The theme of this year’s festival is “Super@#S%?” — as good a term as any when descriptives and superlatives seem not only inadequate, but somewhat irrelevant in a world where so many people cannot imagine being able to return to theaters, either as performers or audience members — they are too worried about having a job and their health. Technically, however, it is
Shuanglianpi (雙連埤) is both a Hakka outpost and a place of great ecological interest. The conjoined body of water from which it gets its name is the centerpiece of the 17.16-hectare Shuanglianpi Wildlife Refuge (雙連埤野生動物保護區). No waterways of significance fill or drain this scenic lake in Yilan County’s Yuanshan Township (員山鄉). During the 1895 to 1945 period of Japanese rule, the colonial authorities — struggling to secure Taiwan’s foothills — encouraged Han people to settle in areas adjacent to indigenous communities. Around 1910, a 49-year-old Hakka pioneer called Tsou Cheng-sheng (鄒成生) from what’s now Taoyuan decided to begin farming at
Wild Sparrow (野雀之詩) is simple and extremely slow paced, told through the eyes of Han (Kao Yu-hsia, 高於夏), an introspective, shy grade schooler who lives with his great-grandmother in the verdant countryside. Han has a fascination with sparrows, which are either flying high in the sky or trapped in cages and nets, providing a constant metaphor throughout the film. In the most ironic scene, a man catches the birds just to charge people to set them free again, taking advantage of Buddhists who engage in the ritual of “releasing” animals from captivity. Han takes a badly injured sparrow home and