The Modification-Up

Jason Bateman and Ryan Reynolds star in Universal's body-swap comedy 'The Change-Up.'A Universal release presented in colaboration with Relativity Media of the Original Film/Large Kid Pictures production. Created by David Dobkin, Neal H. Moritz. Executive producers, Joe Caracciolo Junior., Ori Marmur, Shaun Kleeman, Jonathon Komack Martin. Directed by David Dobkin. Script, Jon Lucas, Scott Moore.Mitch Planko - Ryan Reynolds Dork Lockwood - Jason Bateman Jamie Lockwood - Leslie Mann Sabrina McArdle - Olivia Wilde Valtan - Craig Bierko Flemming Steel - Gregory Itzin Mitch's Father - Alan ArkinIf "Freaky Friday" had an impudent, foul-mouthed little brother, it might be "The Modification-Up," an frequently needlessly crass, bromance-oriented spin on our bodies-swap comedy. As the reliable Ryan Reynolds and Jason Bateman wring some laughs from the creaky but durable setup, playing polar-opposite pals who end up by walking outdoors themselves, the script takes R-ranked gross-out humor to such forced extremes that it is later bid for sentimental sweetness feels disingenuous and unearned. Easily marketable cast and concept should help this Universal release shake some take off moviegoers not exhausted with this summer time of gratuitous vulgarity. The generally bottom-feeding character from the material here should come very little surprise to individuals who recognize the raunchy imprimatur of "Wedding Crashers" helmer David Dobkin and "The Hangover" scribes Jon Lucas and Scott Moore (although the writing duo's more salient credit might be the supernatural-tinged 2009 comedy "Ghosts of Female friends Past"). At various points, "The Modification-Up" appears set on setting a brand new record for F-tanks dropped each minute, also it hits a nadir in early stages using the picture of a principal character getting hit hard with projectile poop while altering his kid's diaper. The man carrying out that thankless task is Dork (Bateman), a straight-laced family guy battling to boost three kids, make his wife Jamie (Leslie Mann) feel appreciated and preferred, and seal a significant deal in the firm where he works like a corporate attorney. By convenient contrast, Dave's nearest friend, Mitch (Reynolds), is really a pot-smoking, sexually hyperactive layabout without any job and little relationship together with his disappointed father (Alan Arkin). Following a evening of booze-drenched commiseration, Dork and Mitch relieve themselves inside a public (and miracle) fountain, an action of minor desecration with major effects. Following the uncomfortable shock of recognizing they have switched physiques wears off, the mutual advantages of the arrangement enter into focus: Dork can get to unwind and have sexual intercourse and among Mitch's many female friends, while Mitch will need to handle some responsibility for something new and have sexual intercourse with Jamie (despite Dave's protests). Since neither scenario would square using the film's eventual endorsement of monogamous commitment, multiple cases of pre-coitus interruptus ensue. Throughout "The Modification-Up," one senses the filmmakers elevated this hoary chestnut of the tale so that they could provide the crudest version possible -- a bawdy-swap comedy, for a moment -- more to fulfill presumed market demands rather than increase the story's potential. Thus, together with the expected farcical moments of topsy-turvy romance and job-performance catastrophe, we obtain a monologue about genital electrocution, a bizarre fetish including women that are pregnant, a scene of noisy intestinal release, along with a couple of whose-penis-is-it-anyway jokes which are of course pretty funny. Much more repugnant is really a scene that grotesquely exaggerates the challenges of being a parent, using fake-searching CGI to put sharp instruments at the disposal of several small children. It's awfully tough to swallow family values from the film whose concept of humor frequently edges on child abuse. While superior records within this subgenre have handled the fight from the sexes ("All Me") or even the generation gap (the different versions of "Freaky Friday"), "The Modification-Up" is less-than-hilariously predicated on the clash between opposing life styles. To ensure that this specific dichotomy to operate, both leads would need to be convincing as pals to start with because it is, Mitch results in because the kind of overgrown frat boy Dork might have cast off eons ago on his route to social respectability. The truth that Reynolds is seven years more youthful than Bateman, and appears it, only stands for the sense these two are somewhat mismatched, their amusing back-and-forth rapport notwithstanding. Bateman, usually cast because the straight guy (as with the current "Horrible Bosses"), has fun releasing his id inside a couple of indulgently coarse pep talks by comparison, Mitch's transformation allows Reynolds stay with his familiar wise-and-sensitive persona. But since the stars aren't especially different comedy types to start with, changing details does not permit them the kind of virtuoso shows of physical comedy this kind of material typically offers. About the distaff side, Mann complains and scolds in roughly exactly the same unhappy-wife role she performed in "Knocked Up" and "Funny People," though she bares much more of her body here, otherwise her comedy gifts, than she did either in of individuals photos directed by her husband, Judd Apatow. Giving the fabric an unpredicted jolt may be the exquisitely beautiful Olivia Wilde (also in the present "Cowboys & Aliens"), who brings a tart, breathily self-assured presence for an underwritten role as Dave's paralegal. Pacing is brisk, and tech credits are fine, with nary just one pop-obtained character-development montage unnatural.Camera (color, widescreen), Eric Edwards editors, Lee Haxall, Greg Hayden music, John Debney music supervisor, Matt Aberle production designer, Craig Robison supervisory art director, Ian Gracie art director, Thomas Minton set designers, Jann Engel, Marco Rubeo set decorator, Debra Schutt costume designer, Betsy Heimann seem, Joe Foglia seem designer/supervisory seem editor, Tim Chau re-recording mixers, Chau, Andy D'Addario effects coordinator, Joey Di Gaetano stunt planners, Jack Gill, Daniel Stevens assistant director, Jonathan McGarry second unit director, Jack Gill. Examined at Arclight Movie theaters, Hollywood, This summer 25, 2011. (In Deauville American Film Festival -- Premieres.) MPAA Rating: R. Running time: 112 MIN. Contact Justin Chang at justin.chang@variety.com