Stylewriter 4 screenplay movie#
Stylewriter 4 screenplay full#

Cut loose and a little unmoored, they have a chance encounter with an acquaintance whoвЂ™s just returned from a life-changing vacation in a far-off land: the small Florida beach town of Vista Del Mar. They belong to a вЂњTalking ClubвЂќ led by a friend named Debbie (Vanessa Bayer, in an incredible bit performance) and make вЂњhot dog soupвЂќ for their guests when itвЂ™s their turn to host.Д«ut one day they abruptly lose their jobs because, as their rueful manager says, the Jennifer Convertibles company went out of business months earlier but nobody remembered to tell them. TheyвЂ™ve also been roommates since BarbвЂ™s husband died and StarвЂ™s husband left, sleeping in twin beds in the same room, Bert and ErnieвЂ“style. Barb and Star are lifelong best friends, who work together at Jennifer Convertibles (you know, the couch store) in a Midwestern strip mall. (It also made a lot of money.)Д«arb and Star Go to Vista Del Mar doesnвЂ™t seem destined to set off anything so earth-shaking itвЂ™s really just here to have a good time and get a tan. That film generated a lot of chatter about women-centered comedy, especially of the gross-out variety. Mumolo and WiigвЂ™s last team effort, a decade ago, was the smash hit Bridesmaids. Those ladies are played, respectively, by Annie Mumolo and Kristen Wiig, who also wrote the film (directed by Josh Greenbaum). The sing-songy title announces the movieвЂ™s tone: This is a tale of two middle-aged ladies who go to Florida for some fun in the sun and, inevitably, some adventures. Kristen Wiig and Annie Mumolo in Barb and Star Go to Vista Del Mar.

Stylewriter 4 screenplay full#

Like last yearвЂ™s odd but entertaining Eurovision Song Contest: The Story of Fire Saga, Barb and Star Go to Vista Del Mar suffers a little from not being able to watch it in a room full of people primed to giggle and snort-laugh their way through its jokes.

Stylewriter 4 screenplay movie#

So, Bill and Ted: Meet Barb and Star, the dynamic duo at the center of one of the stranger and more delightful modern comedies to hit - well, normally IвЂ™d say the вЂњbig screen,вЂќ but the movie is not launching into a big-screen-friendly era. The characters are stranger the situations are more implausible the jokes are more off-beat, more aimed at a niche audience. Studio comedies from the 1990s are, on balance, significantly weirder than the dwindling number of comedies on offer thus far in the 2020s (up to and including everything that stars Will Ferrell). After I watched the Bill and Ted movies last year for the first time (I know!), I wrote about how much I appreciate that kind of sweet kookiness in comedies - the sort of story ideas you simply canвЂ™t imagine a filmmaker pitching today, let alone a studio executive greenlighting.