No one tries to look like Michael Caine in The trip to Greeceand it’s really a relief. The impressions of the English actor were perhaps the funniest and most popular piece by Michael Winterbottom. The trip, who portrayed comedians Steve Coogan and Rob Brydon as empty caricatures of themselves, playing a rival shtick on a restaurant tour across the country. The two then dusted the Caines duel at diminishing returns in The trip to Italy, and completely milk the joke dry The trip to Spain. Fortunately, he was retained, finally withdrawn, in this fourth installment in the improbably continuous series of the duo. Fans who hope to learn more about what they liked in the previous entries can rest easy: The trip to Greece stays on track, offering yet another help from the comedy of buddies bickering over expensive entrees in beautiful European locations. In other words, yes, of course, they say “Come, come, Mr. Bond. “
The trip to Greece
Steve Coogan, Rob Brydon, Claire Keelan
Digital platforms and VOD May 22
At least everyone seems to be aware of how much they repeat themselves again. “Originality is overestimated,” quipped Brydon at the start of the film, somewhere around the same point. Italy and Spain where he winked about sequels and trilogies, respectively. Like its predecessors, Greece is a feature film from a British mini-series, and these origins are still evident both in television imagery – usurping the brilliant appearance of celebrity travel porn – and in adhering to a formula as rigid as ‘a classic sitcom, with only the backdrop changes. In this case, it is the cradle of Western civilization, with Coogan and Brydon tracing the tracks of Ulysses, attempting to pile up his 10-year journey in just six days. This provides new arguments (etymology, mythology), but not much change from the usual itinerary of wine, dinner and jokes.
Since it is possible to distinguish between these rather interchangeable films, Greece is a minor improvement Spain, where even Coogan and Brydon seemed to be bored with “Coogan” and “Brydon”. Their passive-aggressive escalation is a little more lively this time. Again, there is no Michael Caine, but they make up for his absence by trying Brando, De Niro, Ray Winstone, Dustin Hoffman and Werner Herzog. Vocal manipulation remains at the center of the couple’s ongoing talent competition, a meal transforming into a confrontation between Brydon’s famous “little man stuck in a box” routine and Coogan’s funny imitation of a poorly dubbed actor . There’s also a little piece of cranky comedy where the two accompany one of the Greed costars, Kareem Alkabbani, in a refugee camp; it’s about as close as the outside world gets to the bubble of the celebrity couple on vacation, which is, of course, the whole point of the scene.
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The two settle back into their self-deprecating roles once again, Brydon playing the tireless and tiring buffoon again on Coogan’s pompous crank. (The real source of his exaggerated self-esteem is, in this case, his famous performance as Stan Laurel in 2018 Stan & Ollie-Even if it echoes the boasting he made Philomena in the final sequel.) Coogan, in particular, seems to know this exaggerated and romanticized version of himself inside and out. The fact that the stabs of the series on the drama of the quarantine crisis connect is probably due to the pathetic of the watchdog that he buries under layers of withered self-parody But the meditations on aging are still feel like another common element of house franchise style, trotted out as conscientiously as a post-credit teaser in a Marvel movie.
Yet it’s without a doubt the most melancholy Trip. Dream sequences in black and white and a persistent tinkle of rhythmic music presage problems on the horizon, which the film relates with the development of the most lamentably dismal plot of a series which treated potential death as a climatic punch line just a pour. As long as Greece mocks Coogan’s insistence on being taken seriously as an actor, it also provides him with a late opportunity to act seriously, although the latest film broadcast of Max Richter’s “On The Nature Of Daylight” does a lot emotional work for him. (Let’s just say that if The trip is basically an ongoing sitcom, its fourth season ended with a very special episode.) Sober and ending vaguely autobiographical, this series remains comforting food, however. And that could play even more on the appetite of his fans right now, when the possibility of a sunny holiday with a friend, traveling from city to city to eat at a restaurant, is as out of reach as the youth of his heads. poster.