The Inbetweeners’ Joe Thomas crowdsurfs a weekend of misadventures and self-abasing nudity in Iain Morris’s likable comedy
Director Iain Morris first enlivened this quiet-to-dead corner of the cinematic silly season with the astonishingly successful Inbetweeners diptych. Having packed those boys off with a happy ending (stop sniggering), he now attempts something only slightly different: bussing Joe Thomas – perhaps the most immediately available ’Tweener – and a grab bag of emergent talent to the Leeds music festival to recreate this muddily parochial rite-of-passage for an audience too young, too late or too worldly-wise to snap up day passes for this year’s festivities. Chasing the youth pound this flagrantly is always a risk, as those who suffered The Bad Education Movie can attest, yet The Festival’s pursuit remains broadly likable, and Morris again backs it up with real comedy nous.
This film-maker is now so confident that he can toss...
Director Iain Morris first enlivened this quiet-to-dead corner of the cinematic silly season with the astonishingly successful Inbetweeners diptych. Having packed those boys off with a happy ending (stop sniggering), he now attempts something only slightly different: bussing Joe Thomas – perhaps the most immediately available ’Tweener – and a grab bag of emergent talent to the Leeds music festival to recreate this muddily parochial rite-of-passage for an audience too young, too late or too worldly-wise to snap up day passes for this year’s festivities. Chasing the youth pound this flagrantly is always a risk, as those who suffered The Bad Education Movie can attest, yet The Festival’s pursuit remains broadly likable, and Morris again backs it up with real comedy nous.
This film-maker is now so confident that he can toss...
- 8/14/2018
- by Mike McCahill
- The Guardian - Film News
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