The only great thing about the mediocre ‘holiday buddies’

The trailer for “Vacation Friends” suggested that we wait for a “Hangover” -style comedy to end.

Great movie comedies are almost extinct in our waking age, but this R-rated ball seemed to bring back the crooked laugh mark. Unfortunately, the film did not live up to the trailer’s potential.

“Vacation Friends” stars Lil Rel Howery and John Cena as polar opposites that connect during their Mexican vacation. The seizure? The holiday must end at some point, but Cena’s character along with her galpal played by a diligent Meredith Hagner cannot escape the hedonistic spark.

Chaos ensues, just not the rebellious kind.

Hollywood, beating out another mediocre comedy, is not news. This is, however.

“Holiday Friends” pairs a white and black couple together. Yes, sparks fly, but at no point do the couples fight over their racial differences. There is no question of “White Privilege,” and their possible quarrels do not resort to racist-charged insults.

It’s wonderful, and an element of American culture is rarely celebrated in our “anti-racist” age. Many Americans carry no malice towards people of different races. They go about their lives, clocking in at work and coming home for dinner with their families.

They love America’s crucible and routinely interact with different races both at work and in their private lives. That’s what happens in “Holiday Friends,” an unspoken theme that is in keeping with the film’s lovable spirit.

It’s sad that a movie that acknowledges the obvious would stand out today, but it does. It also left the film critic from Salon smoking.

The progressive site noticed how “Vacation Friends” does not occupy race and it is not happy about it.

One of the reasons interracial buddy comedies are a standard is because they create a fantasy about friendship between a white male protagonist and a black male protagonist, let alone a white guy from Oregon and a black man living in Georgia who lives in the real world. would be very unlikely….

“Holiday Friends” joins a wide range of such comedies that promote the fantasy that racial strife between white people and black people is a matter of perception, not reality.


Over to the left-left Hollywood Reporter, the site’s critics call an inexplicable element in the film. Cena and Hagner play middle-class characters who use as Thurston Howell III on a bender.

It is a plot unit that pushes the story forward, but it is also one without a valid explanation.

THR offers one.

While the film emphasizes the couples’ different temperaments, it avoids explaining what exactly allows Ron and Kyla to live without inhibition. The answer is race. But the refusal to acknowledge this tension, even by chance, does a disservice to attempts at a broader class discourse.

How does their race allow them to pay massive bills on their modest wages? Is that something white people can do in the real world? This reporter is white and would have trouble telling the bank that my run should be enough to cover a lavish Mexican vacation that hit my family’s savings account.

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This kind of racist obsession explains why we don’t get “hangover” style comedies anymore. Cultural critics x-ray comedies the way experts give political speeches. Even the awakened of awakened comedies is considered inadequately awakened.

That’s why “The Hangover” director Todd Phillips gave up comedy to focus on other projects, like his Oscar-winning “Joker.”

Just imagine “The Hangover” coming out today. Critics would deny all the so-called “white privileges” on the screen. And where is the diversity?

None of this makes “Holiday Friends” more fun. However, it does suggest why film comedies are on cultural life support.

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