![]() ![]() Granted, the Pitch Perfect movies have always been about underdogs overcoming seemingly insurmountable odds and winning the day (plus the favor of their audiences). The gags about Pitch Perfect 3’s fabricated plotting don’t take the sting out of its implausibility they add to it. When you wind up devoting large portions of your screenplay to acknowledging the lack of a better reason for the Bellas to traipse through “Europe” singing their normal coterie of mash-ups and stumbling into awkward misadventures (involving, among other things, rampaging bees), then you have a problem.Īt least Cannon and White sorta kinda admit it, though their pseudo-honesty only shows us just how dishonest the movie actually is. Here’s a thought for Pitch Perfect 3’s authors and collaborators: If half the reason you feel bothered to make a movie is to capitalize on its predecessors’ boffo box office takes, you’d best come up with a really good half-reason for your fans to buy a ticket aside from hearing the hits for a third time running. Given the chance to get together with the younger generation of Bellas, led by Emily (Hailee Steinfeld), they concoct a contrived excuse to hop on board a USO tour through Europe, leading to an even more contrived competition among the tour’s music acts to land a spot as the opener for DJ Khaled. And Beca (Anna Kendrick), the only Bella whose future we’re actually conditioned to care about, is working an unsatisfactory job producing tracks for no-talent hack rappers who don’t respect her talent (mostly because her talent far outmatches theirs). Fat Amy (Rebel Wilson) continues to contribute nothing to anything. ![]() Flo (Chrissie Fit) is running her own mobile organic juice truck franchise. ![]() Aubrey (Anna Camp) is still running her booby-trapped retreat. Chloe (Brittany Snow) is trying to get into veterinary school. In short: The Barden Bellas have graduated and moved on from singing in a college a cappella group, and they’re all pretty bummed. If it winked at its own indifference anymore than it already does, you might mistake its indifference for outright contempt. Everything about Pitch Perfect 3’s foundation is openly half-baked. The narrative itself is flimsy, and instead of compensating for said flimsiness (or having the decency to drum up a solid script in the first place), screenwriters Kay Cannon and Mike White make a bunch of meta-jokes about it. It apathetically either writes out of the narrative or relegates to the periphery a percentage of its ensemble cast. It pulls an obvious Sunset Boulevard on us in its opening scene. There are red flags aplenty in Pitch Perfect 3 well before the film rolls into its third act. ![]()
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