Urban Cinefile
"David Puttnam asked me to write this and gave me $5000 to do so, and I was frightened by it. I delayed and delayed for about a year, and Puttnam got pissed off and went away, and then I wrote it"  -Bob Ellis, on the birth of his script, The Nostradamus Kid
 The World of Film in Australia - on the Internet Updated Sunday July 12, 2020 

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Jesse (Ashton Kutcher) and Chester (Seann William Scott) are two daft potheads whose only concern is partying. After a particularly big night they wake up having forgotten where they left the car and everything they did. They set out to solve the mystery only to find that they somehow scored with the best looking girl in town, owe a threatening transsexual stripper $200,000, have badly offended their girlfriends and lost their anniversary gifts. Not to mention the fact that they have become the centre of a struggle which will decide the fate of the universe. To save themselves and the universe they embark on a comical quest to find their missing car and a mysterious device known only as the "continuum transfunctioner".

"Dudes of the world unite! You have nothing to lose but your brains! Dumb and Dumber (or maybe Beavis and Butthead) has a lot to answer for. The knucklehead buddy genre is not exactly brimming with potential. Carrey and Jeff Daniels may have enough talent in the whacky deparment to infuse it with a modicum of entertainment value, but lesser lights soon fade with such a feeble source of humour. Seann William Scott seems determined to build a career as a poor-man’s Carrey. Quite an effective approach for the silly but zippy Road Trip, here it has earned him the role of Dumb and Dumber’s bastard love child, Dumbest. The profoundly dull Ashton Kutcher is his equally moronic pal, and while they are convincing as a pair of dope-crazed morons, they lack charisma as well as neurones. A pity, because there are some genuinely chortle inducing ideas in this film. They don’t come from the protagonists or the central jokes, but from the numerous peripheral characters (or caricatures), a keen sense of dramatic absurdity, multi-layered coincidence and the endless comic value that can be squeezed from bubble wrap as spacesuit fabric. There’s even a pair of intergalactic musclebound lads sporting tight leather, crewcuts and Nordic accents turning up to save the universe. Dudes ex machina, perhaps? The narrative (such as it is) becomes increasingly surreal the further it unravels. This immersion in pure farce is much to the film’s benefit. To its infinite detriment, however, is the appropriation of Abbot and Costello’s signature routine, reinvented as the most appallingly unfunny drivel imaginable. Quite an achievement, but it ain’t Sweet . . . Dudes, Where’s Your Shame?"
Brad Green

"Just when I thought, having sat through several quite appalling movies, I had a pretty good handle on just how moronic a film could get; along comes Dude, Where’s My Car to shake my beliefs. While Dude isn’t quite as bad as any number of movies starring A Sandler, it’s nonetheless one of the crasser (and dumber) movies of the year. It presents the audience with a vacuous ride through a muddled assortment of plotlines that go absolutely nowhere, culminating in a cop-out ending that just makes the experience all the more hollow. Sure, you get your regular T&A humour, fart jokes and prat falls, but even these revered tools of the comedy art are as flat as a week-old beer. That’s a particularly apt analogy, as the whole thing feels like it was cobbled together by a bunch of teenage boys over pizza and beer while watching football on TV. To be fair, there are a few funny moments; particularly those involving a band of kooky cultists with little idea about what they’re doing. These moments, however, are few and far between as director Danny Lenier trots out ever more ridiculous scenarios peppered with ever more gratuitous gags – their gratuity being in inverse proportion to their funniness. The performances are generally OK for this kind of movie; although as most of the characters are empty stereotypes, there’s precious little scope for the actors. Misconceived from the outset, Dude, Where’s My Car is a celluloid mess held together by string and sticky tape, masquerading as a movie."
David Edwards

"According to most critics Dude, Where’s My Car is something akin to sacrilege in the cinema. Described as ‘tiresome’, ‘lewd’, ‘moronic and infantile’, ‘dumbed-down teen comedy’, ‘appauling’, ‘relentlessly idiotic’, ‘unfunny’, even ‘strenuously unfunny’ we can say one thing for certain, these guys don’t get the joke. What they’re missing is that Dude, Where’s My Car? is a comedy in the tradition of Bill and Ted’s Excellent Adventure. The film isn’t for everyone; it is a politically incorrect tits ‘n’ ass movie where our dim-witted heroes embark on a multitude of ridiculous adventures, gawk unashamedly at busty gorgeous women and finish by saving the day. While it is certainly not as good as Bill and Ted’s Excellent Adventure (and others), it is nonetheless an amusing film that will carry its intended audience with ease (that is, fun loving teenagers, not critics ranging from middle age to much older). Given a chance the film will repeatedly catch you off guard with the sheer extent of its audacity. At one point five stunning women turn up and declare, "We are hot chicks! We will give you pleasure for the ‘continuum transfunctioner’ (a device that can destroy the universe). The girls are evil alien monsters (of course) and later morph into one giant ‘hot chick’ which tries to murder everyone while a father and son calmly look on stealing glances up her very short (for a 50 foot monster) skirt. This film makes no illusions in its promise, it is merely dumb fun. It is morally suspect, very un-PC and very funny (often because it is just so naughty). In truth it is patchy and not without its failings but it’s not nearly as bad as many critics would have us believe."
Michael Shane

(Ed: Michael is only just past being a ‘fun loving teenager’ . . .)

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CAST: Ashton Kutcher, Seann William Scott, Jennifer Garner, Marla Sokoloff

PRODUCERS: Broderick Johnson, Andrew A. Kosove, Gil Netter, Wayne Allan Rice

DIRECTOR: Danny Leiner

SCRIPT: Philip Stark


EDITOR: Kent Beyda, Kimberly Ray

MUSIC: David Kitay


RUNNING TIME: 83 minutes



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