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    Movie Review

    Twice the Rogen in An American Pickle equals a lot of laughs

    Alex Bentley
    Aug 5, 2020 | 8:56 am
    Twice the Rogen in An American Pickle equals a lot of laughs
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    Seth Rogen has specialized in a certain type of schlubby character throughout his career, a persona that seems little removed from his real identity. But he’s also a highly shrewd producer whose credits show a willingness to try a wide range of different projects. The two sides of Rogen collide in the high concept An American Pickle.

    Rogen starts off the film as Herschel Greenbaum, a man who immigrates to America from the fictional Eastern European nation of Schlupsk in 1920. In the film’s most out-there sequence, he finds work in a pickle factory, falls into a pickle barrel, is found alive 100 years later, and finds out that he has one last living relative, his great-grandson Ben (also Rogen).

    At first happy to have found each other, the two soon find themselves at odds thanks to a century’s worth of change. Herschel values tangible hard work, such as the process of making pickles, while Ben is an app developer, where the results are not so easily defined. The film pits the two against each other, with Herschel finding success with his old-fashioned ways and Ben running into roadblock after roadblock.

    Directed by Brandon Trost and written by Simon Rich, who adapted his own short story, the film is a mixture of over-the-top comedy and sentimentalism. Most of the film deals in heightened humor, like Herschel using literal trash to make his pickles, so the audience is primed not to take anything seriously. But the emotion of being part of a family layers on emotions, giving a sense of balance to a film that could have been all ridiculousness, all the time.

    While the reasons Herschel and Ben disagree are natural given the environments in which both grew up, the film makes a bit too much of their spats. This is especially true on Ben’s side, as it’s never clear why Ben is so resentful of Herschel. And while the shots taken at the hipsters in Brooklyn are funny, they’re no more insightful or interesting than similar jokes that have been made for the last 10 years or so.

    Remarkably, Rogen is much better as Herschel than he is as Ben. Using a vague Eastern European/Jewish accent and concealed by a voluminous beard, he’s boisterous but never hammy. The character’s path is ludicrous, but Herschel himself is fully-realized. However they achieved the goal of having two Rogens in one scene, it works like a charm throughout, with their interactions appearing seamless.

    An American Pickle requires its viewers to suspend a lot of disbelief, but those willing to go along for the ride will find much to entertain them. More could have been made of the concept, but twice the Rogen ensures the film works most of the way through.

    ---

    An American Pickle debuts exclusively on HBO Max on August 6.

    Seth Rogen and Seth Rogen in An American Pickle.

    Seth Rogen and Seth Rogen in An American Pickle
    Photo by Hopper Stone
    Seth Rogen and Seth Rogen in An American Pickle.
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    Movie Review

    Michelle Pfeiffer is an unappreciated mom in Oh. What. Fun.

    Alex Bentley
    Dec 5, 2025 | 2:23 pm
    Michelle Pfeiffer in Oh. What. Fun.
    Photo courtesy of Amazon MGM Studios
    Michelle Pfeiffer in Oh. What. Fun.

    Of all the formulaic movie genres, Christmas/holiday movies are among the most predictable. No matter what the problem is that arises between family members, friends, or potential romantic partners, the stories in holiday movies are designed to give viewers a feel-good ending even if the majority of the movie makes you feel pretty bad.

    That’s certainly the case in Oh. What. Fun., in which Michelle Pfeiffer plays Claire, an underappreciated mom living in Houston with her inattentive husband, Nick (Denis Leary). As the film begins, her three children are arriving back home for Christmas: The high-strung Channing (Felicity Jones) is married to the milquetoast Doug (Jason Schwartzman); the aloof Taylor (Chloë Grace Moretz) brings home yet another new girlfriend; and the perpetual child Sammy (Dominic Sessa) has just broken up with his girlfriend.

    Each of the family members seems to be oblivious to everything Claire does for them, especially when it comes to what she really wants: For them to nominate her to win a trip to see a talk show in L.A. hosted by Zazzy Tims (Eva Longoria). When she accidentally gets left behind on a planned outing to see a show, Claire reaches her breaking point and — in a kind of Home Alone in reverse — she decides to drive across the country to get to the show herself.

    Written and directed by Michael Showalter (The Idea of You), and co-written by Chandler Baker (who wrote the short story on which the film is based), the movie never establishes any kind of enjoyable rhythm. Each of the characters, including competitive neighbor Jeanne (Joan Chen), is assigned a character trait that becomes their entire personality, with none of them allowed to evolve into something deeper.

    The filmmakers lean hard into the idea that Claire is a person who always puts her family first and receives very little in return, but the evidence presented in the story is sketchy at best. Every situation shown in the film is so superficial that tension barely exists, and the (over)reactions by Claire give her family members few opportunities to make up for their failings.

    The most interesting part of the movie comes when Claire actually makes it to the Zazzy Sims show. Even though what happens there is just as unbelievable as anything else presented in the story, Showalter and Baker concoct a scene that allows Claire and others to fully express the central theme of the film, and for a few minutes the movie actually lives up to its title.

    Pfeiffer, given her first leading role since 2020’s French Exit, is a somewhat manic presence, and her thick Texas accent and unnecessary voiceover don’t do her any favors. It seems weird to have such a strong supporting cast with almost nothing of substance to do, but almost all of them are wasted, including Danielle Brooks in a blink-and-you'll-miss-it cameo. The lone exception is Longoria, who is a blast in the few scenes she gets.

    Oh. What. Fun. is far from the first movie to try and fail at becoming a new holiday classic, but the pedigree of Showalter and the cast make this dismal viewing experience extra disappointing. Ironically, overworked and underappreciated moms deserve a much better story than the one this movie delivers.

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    Oh. What. Fun. is now streaming on Prime Video.

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