Kuuchu Burnako (Flying Trapeze)

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Often you’ll hear how being unique isn’t enough to make a good anime. That’s not entirely true, since being unique is overall a good trait. Why would you want to sit in front of a screen, watching the same thing over and over? What these people do get right is that mere uniqueness isn’t enough. Although in the end, all great works of art are unique and highly original, not all original works are great works. That’s because true greatness which comes from true uniqueness isn’t just a unique art style or a cool storytelling method, but a thematic depth.

All the problems with this anime are in this sector. It’s eccentric and utterly bizarre. Better anime don’t break their conventions like this, but in the end it’s all just quirks and a unique style that don’t reach any profound conclusion. As an aesthetic experience, it’s awesome with how wacky it is. As for its narrative, it’s just there.

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The narrative is fairly empty and the symbols, while cool, don’t mean anything. Having a psychiatrist and people with psychological disorders isn’t an automatic ticket for actual character psychology. The anime mistakes exaggeration for madness, like a 16-year-old kid who thinks a Facebook cover photo with blood shows how ‘crazy’ they are.

The anime deals with the old notion of ‘crazy’, something that I think the mental health institutions abandoned even before Thomas Szasz took an axe to their heads. Here characters don’t struggle daily with a disorder. The problem isn’t present in every fabric of their existence but, rather, explodes out of nowhere. Most of these characters lead normal lives until something triggers them.

Now, it’s true that a lot of mentally ill people function day-to-day, interact with people and buy eggplants without causing a massacre. Notice how their normality is only something we experience. They don’t. Someone who is suicidal (A major problem that the series oddly avoids) is always suicidal. Some days it hurts less, some days it hurts more. However, the normality is only an external thing.

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Inside, everything pushes him towards death. For the depressed person, every thing demands extra effort and the question of ‘why go on?’ is always present. That’s why mental illness is such a problematic thing and a lot of philosophers had to step in to redefine it. Mental illness is not a wound, it’s not a specific area of the body we can target and diagnose and seperate. Mental illness is an integral part of being. Depression isn’t a distortion of reality but a part of someone’s personal reality.

The characters here aren’t even reduced to their mental illness. They’re reduced to their onsets. Although we see them do ordinary stuff like jobs and family, we rarely get insight into how they exist with this. It’s all just build-up until the dude panics over not being sure if the stove is on. This prevents the show from having any serious psychology. In order for it to be truly psychological, it needs to present these people as whole human beings and it needs to show how the illness relates to the whole.

In truth, these aren’t really characters. Their disorder defines them more than anything. Most of the differences between them comes from that. The show belongs to the tradition of a main character who’s a vessel for other stories. In general these type of anime have a cool style and an empty narrative. It’s not just because there is no major conclusion – although it tries for something sappy like how we need to listen to others. Their problems are also very illness-orientated.

If mental illness was so exaggerated and obvious, we would’ve had an easier time dealing with it. We don’t. The problems these characters face tend to be only their illness. How it relates to other problems is unclear. Sure, it disrupts their day-to-day life but that’s not enough. How does it affect sexuality, social interactions, worldviews? The series loves to portray extras as cardboard, but in truth no one is cardboard for people. Our ilness and these passerbys are part of our lives. The anime treats mental problems like an obvious wound.

It doesn’t help that most of the stories involve OCD. I’m sure it’s a common disorder, but where’s schizophrenia, depression, bipolar? Perhaps because OCD is far easier to exaggerate. It has onsets, things that are easy to transmit visually. Depression is harder since depression is everywhere, showing itself in every action and relates to a person’s inner life. You have to show a worldview in order to portray depression. That’s why its status as an illness is such a problematic issue. Eventually, all these people with OCD blur into one another. The only thing that changes is how it works.

When a different illness comes, they fail to show its psychology. A person’s narcissism ends up being monotonous. The big problem isn’t narcissism, but a dude who can’t stop smiling. The whole agony of living in the past, in glory days that are never to return and trying desperately to re-create them isn’t there. Rather, it’s just a person repeating his shtick over and over. It’s an excellent example of how they take a serious issue and reduce it to a single symbol, stripping it of any depth.

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The surrealistic, bizarre art and storytelling also leads to an air of self-satisfaction. It’s not as bad as it looks from the outside, but it’s there. Nothing is particularly funny about these jokes, since they don’t point to any absurdity and hardly a taboo. So the psychiatrist gets off on vitamin shots. That’s kind of odd and amusing, but not out of place. Early on the anime establishes how wacky it is with these colors, so this is fairly ordinary. Irabu is also not really funny, just quirky and high-pitched. There’s also a sexy nurse who thankfully has little screen time. Her role is mainly to inform the viewer that the makers are totally fine with ultra-sexy yet placid women, some pathetic symbol of ‘sexual strength’. I don’t know. Nothing about her is interesting, including breaking into live-action. Overall, the series sets itself up as weird, but can’t ever up the weirdness.

It’s not all bad though. In fact, in its format, the anime is quite excellent. It’s the old format of a single main character whose a narrative device to show the lives of various characters, like Kino’s Journey or Mushishi and it does it so much better.

First off, merely dealing with mental disorders – an integral part of the experience of being – gives these stories a more emotional, personal angle. Already here it lifts itself up above the aforementioned anime. Unlike them, there is some sort of humanity here. It’s exaggerated, caricature-esque and shallow but it exists. The main driving symbol has a far more personal nature so the stories are by their nature more emotionally engrossing. The distance that harmed Mushishi is mostly absent.

There’s also concern and empathy for these characters. For all its exaggeration, the series has some awareness that underneath it all there should be humanity. The tone is not mocking, something that the aesthetics and the ultrasexy nurse hint at. Rather, it’s empathetic towards these little lost humans and their madness. Episodes don’t end with a complete return to normality, but with a way to cope with the madness.

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It’s this vibe and demeanor that prevents the anime from being only an exercise in aesthetics. There is a clear meaning underneath some of these symbols, like how cardboard-like people merely means these aren’t important characters. The mental conditions are caricatures, but at least they make sense – extreme worry is a problem. Even if the series isolates these parts, it does fit with the style. In a way, the series never pretends to actually be psychological. From the start it’s concerned more with flash than substance, but it has just enough substance and humanity to prevent it from being vapid.

As for its aesthetics though, they’re fantastic. It’s true there isn’t an anime quite like this one. You might compare its surreal style to Tatami Galaxy, but that one had an overbearing, total aesthetic. Here they take a realistic art style and utterly distort it, creating a weird clash of realism and cartoon. The storytelling is knowingly expressive, so much so that sometimes things don’t have meaning. There are polka dots everywhere, but then again why not? It’s self-awareness which doesn’t try to be clever. Knowing that none of it is real, they let themselves go with wacky, memorable images. It’s a style weird enough to hold on for 12 episodes even if there isn’t much variety among them.

Utterly bizarre and original, yet its lack of depth prevent it from being one of the greats. It had the premise and the aesthetic boldness, but it’s also satisfied in just being fun. Often we talk about how ‘just fun’ shows need to be unoriginal, yet this anime demonstrates you can have fun without aiming too high. Set expectations about how mind-blowing this is, and you’ll be disappointed. This is just another in the long line of episodic anime with a wide cast, but its one-of-a-kind style breathes life to the format.

3 crazies out of 5

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Welcome to the NHK! (NHK ni Youkoso!)

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Here it is, people. This is no hyperbole. NHK is the worst anime of all time. It is one of the worst pieces of media you can conjure. A reality show about the Kardashians must be better than this. Pathetic YouTube parodies are better than this. In order to make something worse than this, you’ll need to let Ian Watkins brag about his pedophilia in the Lostprophets album that was never made.

There is no correlation between artistic quality and morality, as Lostprophets have displayed. Yet, you have to wonder what kind of awful person would subject the world to this. Worse, what kind of person would make an anime whose purpose is to make fun of anime watchers? Imagine if your ordinary school bully made an anime. There is so much wrong that I want to rant about it, shoot up heroin and watch Texhnolyze. That one was also bad, but it looks like a better version of Digimon Tamers over this, and Digimon Tamers is already brilliant.

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I’m not sure where to start with this mess, so let’s get with the art style. Art style is important. If not, you wouldn’t use a visual medium. Why, then, are the artists so unimaginative? Something makes me worry it’s on purpose, like those East Coast rappers who are so afraid of sounding ‘not real’ their beats barely have a drum. Everyone in this series is black haired and has no distinct facial features.

This may sound realistic, only it isn’t. People in real life actually look distinct. Even if you eschew wacky hairdos, your characters must not look like they came out of the assembly line. There are no odd touches to the hairstyle, different body structures, or an arrangement of facial features that stick out. In fact, the artists are so unimaginative that they can’t come up with a basic sexy design. Our main characters work on an eroge, and the design they come up with can barely touch the most obscure visual novels. Even when they could use anything in the artist’s arsenal – twintails split into 4, floating hair, purple lips – they still end up with a dull design. It’s worse than visual novels that have ‘same face, different hair syndrome’ because at least Da Capo’s girls have pretty hair.

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Everyone in this show is also fit and quite hot, despite being hikkies. Satou spent days in his room doing nothing (literally nothing, he’s not aware of the existence of porn). He doesn’t cook for himself and drinks a lot of beer. If you expected an overweight dude who looks like George Martin, you’re bound for disappointment. Satou looks more like Brad Pitt in his Fight Club era with a shirt on and a less aggressive stare. If these guys opted for anything realistic, we would’ve seen the consequences of isolation on Satou’s body. Instead, he looks like a side-character from Free!.

As for the story itself, don’t expect any understanding of what pushes people to be hikkies. Don’t expect a deep, dynamic psychology that reacts to the environment and is an active agent in the story. Any comparisons to WataMote are null, since this is the complete opposite. Tomoko struggled. She was lonely but she had to act and do things. We saw her failures, saw her difficulty and it made it so dark. What Tomoko goes through is our every social awkwardness, only every day.

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Satou doesn’t really have to struggle. In fact, he’s not much of a character at all. He has no desires, no life outside the story. He exists so others could pop at his door and force him to get help. It’s not much of a struggle if all you do is react to situations. Sure, it’s not enough to just be offered sex. You also have to go through the dilemma whether to say yes or no to that.

These are two different struggles. One man struggles with getting something, the other is being offered something and needs to accept it or reject it. The creators aren’t aware of the difference. They don’t know how to let a character drive a story, so they offer external conflicts he has to solve. The dilemma of whether to choose yes or no is hardly there, because the anime relies on events and not characters. If Satou chooses ‘no’, nothing actually happens. He doesn’t have a personality to move on from that ‘no’.

Satou, as a character, isn’t an exaggeration. He’s inconsistent. Despite spending years locked in his room, he doesn’t know anything about video games or internet porn or, well, anything. Keep in mind Satou isn’t an Unabomber-style hermit. Hikkies tend to have a hobby that keeps them in the house. Satou should’ve done something during all this time, should’ve gained some knowledge even if it’s only about non-canonical Star Wars planets. He’s completely ignorant of culture that it’s most likely he spent the entire time staring at a wall.

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That’s not impossible, but shouldn’t such a person be affected with a major disorder? Shouldn’t that disorder affect every aspect of their life? Socially, Satou is perfectly fine. Whereas Tomoko struggles every second, Satou is relatively confident. The only time social weakness rears its head is when the creators need him to scream for comic effect. Oh look, a hikkie yelled bullshit and emberassed himself! That’s some high-class humor!

The anime isn’t really about the pains of being a shut-in. The conflict is solved in a few minutes around episode 23 – no psychology, no development. Suddenly there’s a problem, so Satou walks out and he’s no longer a hikkie. Rather, it’s about the joys of conformity, how the world is a beautiful, welcoming place and you all should stop watching perverted anime and get in line. That’s ironic, coming from a country where people ‘conformed’ and let the military run the Rape of Nanking and Unit 731.

The ‘highlight’, if you can call it that, is the anime’s treatment of suicide. The idea life may not be worth living crosses the mind of the creators for no more than 5 seconds. Except for a brief moment, the creators go hammer about how irrational it is. The people in question have their reasons, but it’s pushed aside using ‘irrationality. At the end of the arc, some dude goes hammer about how their suicide will harm others and so they should stop. What an original argument. All of the philosophy behind is being shattered to pieces the size of the atom. Too bad the logic that fuels it can also be used to coerce people into rape, but better shut up before the thought police come.

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Darkness does exist in this anime, but it’s either skimmed over or played for laughs. Misaki’s and Yamazaki’s darker sides exist, but Misaki’s is barely allowed to surface. By the time it does, it reaches its expiration date and Misaki is the redemption. Her dark side never truly hurts Satou. The monologue that supposedly exposes her is to exaggerated, too comical to be a true confession. Like any other piece of darkness, it’s more funny and has zero insight.

Black comedy shouldn’t just have unpleasant topics. It should illuminate them. If you’re going to laugh about sensitive subjects, you need to do more than be funny. So WataMote put us in Tomoko’s shoes, dissecting her failures into little details, showing the absurdity and the pain. Even Borderlands takes violence seriously. Some of it is commentary on how lightly we take violence. By shocking us with how casually the characters treat violence, it gives us a mirror.

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Yamazaki is a lonely dude who’s inept with women. You don’t see his failures, or the pain of rejection. You see him spit monologues about how awesome 2D girls are. It’s quirky, funny and makes you feel good about yourself that you’re not such a loser. Satou’s inner monologues aren’t unhinged enough to show a mental instability, but also not coherent enough to show deep thought behind them. It’s funny that he ‘hallucinates’ weird, Doby-like things. Perhaps the voice actor is to blame. Satou reacts mostly by screaming, but that’s once in a while. In general, he functions well enough.

When they fail, it’s always because they were too weird. The world is mostly benevolent, with the occasional schemer here and there. A few scenes comment on the isolation of the modern world, but it’s always implied the characters brought themselves to this eternal isolation. It’s such an optimistic view, a ‘pull yourself by the bootstraps’ crap people tell others because they think luck doesn’t exist. Characters rarely deal with failure that’s caused not necessarily because they’re to blame, but because that’s how the world works. Things just sometimes don’t work.

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Based on Satou’s situation, he could’ve easily grabbed to Misaki and use her to increase her social skills. As a later character displays, in this world you can do anything if you only try. Said character starves from shutting himself in, so he crawls out and immediately finds a job. What a friendly world that is, where people walk to your door and offer to develop your social skills and where you can apply for any random job and be accepted.

is a ridiculously optimistic anime that refuses to acknowledge the world isn’t a happy happy joy joy place. Characters who feel bad are mocked or written as irrational morons. As we know, everyday other people walk to others’ doors and offer help. What? It didn’t happen to you? That’s odd. Perhaps this anime isn’t so realistic. Perhaps what makes something truly unrealistic is not things that cannot happen. Rather, it’s when the meaning underneath the symbols – in this case, the optimism – is completely detached from reality.

0.5 out of 5. I don’t come up with a unique phrase for this crap

Danganronpa: The Animation

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I could’ve written this review without watching the anime. For all its twists and turns, Danganropa works like you’d expect it to. Even the claim that it’s not as in-depth as the game doesn’t feel relevant. It’s a darkly humorous anime filled with hilarious characters. There isn’t much psychological depth, but everyone is memorable and no one gets demonized.

Danganronpa understands why Death Game scenarios work, and what are its strengths and weaknesses. These scenarios rely on a fairly unpredictable out come. We know the main character wins, but not always who will be his final match. The most important part is the characters. Their personality modify their interactions, the methods they use and how the ‘matches’ go.

By abandoning any characterization, you’re left with emptiness. All you will have is a show of violence, which can only be entertaining for so long. Thankfully this isn’t BTOOOM!. You can tell by just looking at the brilliant character design.

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Every character has a distinct look. No character is allowed to look like another. I haven’t seen a cast with this much effort put into the design. Everyone sports different hairstyles, outfits and even shapes of the eyes. The differences are more than just to tell apart the character. Each detail helps to point to the personality of the character. This is how character design should be – expressing the character using the visuals.

They are not psychological portraits. They are a collection of quirks, but these quirks never point to some realistic personality. The characters are, after all, chosen more for their skills rather than their personality. Normally this would lead to perfect, boring characters. In this guys, the talent points more towards some personality that’s exaggerated and made to feel alive, if not realistic.

It’s not that these are shallow without hope. There is hope for some depth and the show occasionally taps into it, but that’s not how we get to know the characters. We know them like we know our classmates – we know their patterns and learn to laugh about it. Even without the psychological aspect, it’s a vivid, entertaining cast.

They’re so entertaining that even the dullest characters (Who are for some reason the main ones. Someone was taking crazy pills) are entertaining. Neagi and Kirigiri are archetypes without much blood in them. The former is normal and means well. The other is a cold girl who always runs off to the writers, who tell her how to solve the mysteries. They never reach the heights of Fukawa or Junko or pretty much anyone, but they’re a cut above characters in the same style.

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The best of them all is Monokuma. He’s the embodiment of the series and why it works. If the premise and the characters don’t look weird enough, we also get a talking teddy bear that runs the school. He treats the violence and absurdity flippantly, as if it’s normal.

Isn’t this how comedy works? It presents an absurd situation where no one recognizes the absurdity. Although Danganronpa‘s story is a mystery, all the techniques are comic. It puts more emphasis on weird situations than a coherent puzzle. The mysteries aren’t exactly cleverly built. They’re messy and require some leap of faith, especially as the series goes on. The final twist is pure comedy.

Good mysteries are more than just predictable. They have an interesting structure and don’t rely just on the outcome. Absurdity is one way to do it. Even if Danganronpa‘s structure is fuzzy, it’s never boring. Every mystery is unique and memorable.

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The comedy also works because of its darkness. This is another case where darkness isn’t used to minimize the horror but amplify it. The bear is cute and the academy looks pretty, but it’s a cruel way of life. There seems to be no other solution than dying or killing, and yet the series knows this isn’t a good reason to sacrifice absurdity or characters. Just because a situation is harsh doesn’t mean it doesn’t have a funny side to it.

There is almost something meta about Monokuma. That route is never explored, which is a shame. It could’ve lifted the anime a little higher. Monokuma keeps telling the students to kill each other so he won’t get bored watching them. Isn’t this why you watch the anime? You watch it to see them kill each other. Wouldn’t be boring if the students decided not to kill each other, but just to kill time with each other?

The anime explores this question a bit, but not enough. Extending the time where the characters just being themselves could’ve put these two next to each other – School Life and Mystery – and we’ll have to ask ourselves what we prefer and why.

It doesn’t suffer from the over-abundance of ideas like its sister anime, Future Diary. In that one, ideas came and went. There were a lot of hints they could be explored but then they were dropped. While Danganronpa has these routes, it knows it can’t explore all of them in 12 episodes.

 

The few themes that appear – despair, violence, friendship – are used to spice up the story. The story is slightly shallower, but it’s also more organized and better paced. I’m sure the visual novel has more ideas, but in 12 Danganronpa manages to tell a hilarious mystery and not get sidetracked.

It’s in no way just advertisement for the visual novel. It’s a very entertaining anime filled with vivid characters, weird situations and a funny mystery. The approach to the genre is different, but better than the common one. It may lack substance, but it makes up for it in being entertaining. You don’t need a lot of episodes and fights that last for hours to be entertaining. You just need characters and situations that are odd enough to be memorable. You don’t need punchlines to be funny, you just to find the funny in already existing situations/characters.

3.5 upupupupupu out of 5 upupupupupupu

WataMote: No Matter How I Look At It, It’s You Guys’ Fault I’m Not Popular!

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If you live under a rock, you’re probably impressed by Family Guy‘s and South Park‘s ‘dark’ humor. They show you people suffering, dying and cursing. They expect you to laugh because people are dying, suffering and cursing. You’re supposed to be shocked that the creators don’t mind putting these characters though such a pain, but that’s not a major achievement. Terrorists do it all the time, but it doesn’t make them comedians.

A truly dark comedy is not that one avoids that darkness. It’s one that forces us to confront the darkness of it and still laugh. Even Borderlands, where the whole joke is that everyone thinks dying is a joke has insight into violence and how we perceive it. It’s an exaggeration of the flippant treatment most video games have for violence. Likewise, WataMote is an anime that stares into the eyes of the abyss that is being socially retarded

WataMote is a dark comedy. It’s far darker than any so-called ‘for adult’ cartoons from the West. It doesn’t create a bunch of punchlines and try to make the premise fit the jokes. It’s aware of the how crippling Tomoko’s situation is, and it tries to find humor among all the darkness. It uses humor not to downplay the darkness, but as a means of coping.

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Shyness is cute when you look at it from the outside, but so is a panda bear caged in a zoo. Tomoko has the privileges of the Western world, such as running water and food. How much of a consolation is it when you have no way to relate to the world?

Human beings are social creatures. Isolation is one of the worst type of punishment you can bring on one. That’s where solitary confinement comes from. Without feedback from others to keep us in reality, it can feel like it’s slipping away from us. A similar process can happen with sensory deprivation.

This is what happens to Tomoko. There is a gross contrast between how she views herself and the world, and how it really is. The world outside is not very hostile. In high school, the popular kids are too busy having fun to bully you. People will talk to you if you initiate. At worst, they’ll be indifferent.

Indifference isn’t harmful in and of itself. It doesn’t target you. When that’s the only feedback you get, it becomes scary. Tomoko barely spends any time in the real world. We spend most of the episodes inside her head. In her inner monologues, she talks fast, with a steady pace and a hard voice. She’s full of energy and life.

Then she opens her mouth and barely a word comes out. The people often react in confusion. You can’t expect them to react in any other way to a person who can barely utter a phrase. Since it’s not complete approval, Tomoko’s dualistic worldview sees it as negative and she runs away.

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That dualistic worldview is another aspect of being a social retard. Tomoko sees things in black and white. There are popular kids, and losers like her. In her eyes, Yuu turned from a loser geek to a ‘popular slut’, although all we see is that Yuu developed breasts and dyed her hair. Tomoko tries a little to fit in, and when it doesn’t work she throws the bathwater with the baby.

The absurdity of social anxiety is that it makes you fail in basic, day-to-day interactions. Tomoko’s failures wouldn’t bother and otherwise well-adjusted person. People say embarassing shit all the time. Most of them say so many things that one failure doesn’t bother them. Tomoko always bets all her money on one single moment.

The comedy comes from the darkness itself, from how absurd it is. We’re talking about a barrier that doesn’t exist physically. Nothing prevents Tomoko from talking with people but herself. She’s fighting a shadow. Seeing a person fight something invisible is both sad and funny at the same time.

Sometimes the comedy is just from Tomoko’s failures. Thankfully, the creators are imaginative enough. They make these realistic failures, rather than inserting a poop joke or a sex joke like a lot of Western comedy does. There is also a powerful use of silence. It’s another way of pointing out the joke, but it lets the situation stand on its own. Besides, it’s a more realistic reaction to absurdity. Something absurd is something we don’t know how to react to. We may need time to think it over.

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Tomoko would’ve nothing without her voice actress. It’s a brilliant performance. She has to play different characters. Tomoko is a megalomaniac world-dominator in her monologues but a coward when she speaks. Her voice actress doesn’t just capture this World Dominator in her speech, but she performs it with chinks in the armor. She exaggerates the confidence so much that it’s clear Tomoko tries hard to convince herself. As for how she does Tomoko’s stuttering, I doubt any person can replicate it so well. The fact a dub was even attempted is a brave, but probably an Icarian feat.

The character design fares a little worse. Tomoko isn’t really ugly. She looks odd and a distortion of the Moe design. Her eyes are huge, but have a darkness in them that looks frightening. Her figure or facial features aren’t special enough to cause any shock. She looks likes she’d rather listen to My Chemical Romance and Avenged Sevenfold rather than look for a boyfriend.

The state of comedy is a poor one. Too many comedies are references to sex and shit in-between random words. It’s hard to find a comedy that understands comedy’s purpose – finding humor in the absurdity of life. If it can find humor in the darker parts, then all the better. Whatever you think of anime in general, WataMote is a great work of comedy.

4 anxiety fits out of 5

Vacation (2015)

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The film opens with a series of photos from a family vacation. Something wrong goes in most of them, something that is supposed to be funny. ‘Going wrong’ here means things like a horse urinating, or a child seeing animals having sex.

I don’t go to movies to look at hot women. If I wanted hot women, there’s plenty of places to see them without distractions. In fact, whenever a film tries to dazzle me with how beautiful the actress is, I get the urge to message a philosophical question to a friend so he’ll entertain me. When I find myself enjoying the presence of a hot woman in a film, it’s clear it has nothing else to offer.

Vacation also has Chris Hemsworth showing off his muscles and lack of fat. I appreciate this stab at equality, but I’m not sure it’s worth sitting through an hour and a half of terrible jokes for. Couldn’t they just shot a short video of him flexing and put it on his Facebook page?

There’s an attempt here to make a dark comedy, only it’s not really dark. Like a lot of shitty comedians who use ‘shocking’ content, they’re afraid of going all the way. They gross you out, but it’s just unpleasant.

There are two ways to go about it. You can either go complete light and pretend it’s not dark. That’s hard to pull off, but it worked brilliantly in Borderlands. You can also confront the darkness. Use the jokes not as a way to cheapen the darkness but to magnify it. Make it both dark and funny. That’s why Catch-22 and the anime series WataMote are funny.

The creators put the characters through a lot of hardships, but none of it is meaningful or interesting. They bath in raw sewage, which goes on for 3 minutes. Someone actually thought that extending that scene to 3 minutes was a good idea. It was kind of funny at first when they didn’t realize it, but the scene goes on and on. We see them rubbing shit over themselves for a few minutes, which feel like they’ll never end. How does that extra length contribute to anything? Even splatter films don’t linger so much on the ugly details.

Some people die in this film, which is supposed to be funny. I’m not sure where the joke is in the scene with the suicidal guide tour. He kills himself after his fiance breaks up with him which is pretty sad, but where’s the joke? Wikipedia has a list of unusual death which is both hilarious and terrifying. What’s funny is not that these people died, but that their circumstances are so absurd.

No situation here even tries to be absurd. Things just go wrong. They want to go to hot springs, and they end up in raw sewage. Debbie tries to prove she’s wild at heart but she vomits pitcher of beer she just downed. The older brother finds a pretty girl and along comes the dad to make things awkward.

What defines absurdity is that it’s unpredictible. How funny can you be when every joke is so obvious? It would be easier to stomach if it wasn’t so cruel, though. When your jokes are cruel but lack wit, you just come off as a sadistic bully. Vacation is no different from the Saw films in that aspect. You see characters having a hard time and trying desperately to get out of it.

There’s no joy in here, no pain. They can’t even rely on joyful/depressing contrast to make jokes. The creators are so cruel they don’t allow the characters even a small victory. At least the Saw film have a unique visual style and a killer soundtrack. Vacation can’t justify all the pain it inflicts on its characters.

Ed Helms tries hard to make something good out of the material. Maybe that’s the joke. Maybe I was supposed to laugh at him trying to be funny with such weak material, but at this point I’m sad. The guy stayed for three Hangover films. Can the Coen Brothers take him to one of their movies now? There’s an almost effective scene where his characters break down. Helms tries to inject a little darkness to that scene. Seeing a character breaking down would’ve been truly shocking, but you can hear one of the executives telling him to stop. We’re here to gross out the audience, the executive says. Then Helms walks away like he should’ve done long ago and the car blows up. That’s a clever metaphore for his career.

There’s no reason for this film to exist. The kid behind me laughed a lot, but I also used to find shit and sex funny when I was younger. Now, I found life to be much more crazier and weirder than just these two subjects. Sex and shit can be funny. I have a personal anecdote involving shit, but it’s not just the shit that itself is funny. Mainstream comedy is just as terrible as it always was.

I can’t believe my friends chose this over Inside Out.

1.5 suicidal guide tours out of 5