Still, the women are determined to keep a party vibe alive, and so drunken carousing and the requisite series of unexpected misadventures ensues.
What’s right about “Best Night Ever” pretty much begins and ends with the cast.
Thankfully, we’ve met a woman with principles and Lori tells Stuart to go screw.
In the pilot Stuart placed the blame of his failed advances on the women he was hitting on.
Unfortunately, after a bit of early promise, Friedberg and Seltzer’s film settles into a manic, nonsensical groove.
For reasons most likely related to budget, “Best Night Ever” is conceived of as yet another “found footage” film.
While the boys are out in the limo, Stuart’s tenant Jessica has her actress friends over for a salon night to discuss art and culture.
She puts on Jazz music, attempts discussing politics and even tries to get the ladies to watch . After being rejected from The Ambassador Club by Stephanie Beatriz, and heckled by a paparazzo (Eddie Pepitone), Stuart lowers his expectations and invites three schoolteachers from St. The realistically pathetic flirting by all parties is spot-on and Jill Donnelly does more than hold her own as Lori, the woman somewhat interested in Stuart.
This time he thinks a limousine will be his ticket to women, but the limo (as long and as clumsy as Stuart) makes for a better comedic sidekick than it does a wingman.
And yet “Best Night Ever” is notable, in that it’s essentially the duo’s first nominally original, non-directly-referential screenplay. The movie’s story centers on bride-to-be Claire (Desiree Hall), who sets out for a bachelorette party in Las Vegas with her uptight sister Leslie (Samantha Colburn), the fun-loving Zoe (Eddie Ritchard) and Janet (Crista Flanagan), a quirky mother ready to let her freak flag fly.
So does the film, a wisp-thin, gender-inverted rip-off of “The Hangover” and “Project X,” open in forced-outrageous fashion, with auto-tuned synth music and the black-barred member of a male stripper flopping about in circles? When their hotel room rental plans are wrecked, they end up in a dump far off the Strip, and not too much later they’re robbed by a valet.
While Zoe has control of the camera for much of the movie’s runtime, scenarios which get it out of her hands are contrived and poorly thought out.
And then the coverage begins to not even match the set-ups, at which point viewers will just become more engaged in spotting errors than by anything unfolding onscreen.