You don’t need to be an expert in the seventh art to distinguish a film that takes itself seriously from another that goes down the path of absurdity. Far from being a disadvantage, choosing the second option is perfectly valid, as we know the film industry is a medium that offers the opportunity to produce all kinds of stories. That’s the charm of
love cinema
, by the way. It’s precisely for this reason that part of the market did not fear nor feel ashamed to bet on something that we came to call
besteirol
.
Intrinsic part of the formation of many film buffs who grew up between the 1990s and 2000s – even those who followed a more traditional path – this subgenre of comedy became popular at the beginning of the century from entries that generated absurd enthusiasm among young audiences, but it emerged much earlier, with films such as
Porky’s – The House of Love and Laughter
, released in 1982.
Responsible for inspiring a series of movies that we know through free TV, ranging from
American Pie
a
Superbad – It’s Today
, it also set precedents for increasingly incisive and metalinguistic approaches.
Everyone in Panic
It is an emerging jewel in the trajectory of the Besteiros, who, although today has a high range of problematic issues, was responsible for parodying everything that was bubbling in the cinema of that time.
Yes, maybe this is one of the dumbest movies of all time precisely because it revives the idea that Porky’s brought to cinema, but with the freshness of the early 2000s and a strong appeal to the young audience. The parody there was so self-referential to the seventh art that it became the start of a five-film franchise – not counting the upcoming sixth chapter – as well as inspiring other projects.
It’s Not Just Another American Nonsense
,
Super-Hero: The Movie
,
Criminals
,
The Crazy Woman in Hollywood
e
The Vampires Who Bite Themselves
are just some of the features that followed the trend that reached the field of animations with
The Crazy One in the Little Red Riding Hood
Although many followed the idea of making fun of well-known intellectual properties, it was very easy for them to fall into bad taste and not even reach the level of the saga created by the Wayans brothers – which was not that exemplary either.
The major problem with these narratives was already observed at the time of their release and has only been exacerbated over the years: excessive scatological jokes, reliance on physical comedy, weak scripts, crude humor, and, of course, a flood of offenses against minorities and stereotypes that have aged very poorly. This places us in a very important position for those who love cinema: to understand that everything is a product of its time.
With 51% critical approval in
Rotten Tomatoes
, the title considered “very cruel and vulgar to provoke laughter.” Robert Ebert, one of the most respected professionals in the journalistic field, considered it “a silly parody that sometimes hits the mark, but more often misses due to excess.” Still, there were positive considerations: “A movie that doesn’t fear being silly – and that is its greatest charm,” also noted the critic from the Chicago Sun-Times.
Even if the consensus was negative, major outlets acknowledged the freshness of the project with reviews. “The Wayans brothers know how to laugh with — and not just at — their characters,” wrote the
Los Angeles Time
. I and
Variety
focus on one of the protagonists: “Anna Faris proves that she can be a star of”
comedy
“, stealing all the scenes in which he appears,” described the post.
It is necessary to understand that this was done in an era when social discussions only touched the surface of the film industry.
mainstream
, something that, although it still has other problems in the gears, is generally done in a respectful way nowadays.
Inclusive, it is precisely for this reason that the existence of a future
Everyone in Panic 6
It is one of the riskiest bets in current cinema: how to bring back the chaotic and referential energy of the original films without falling into this path of offensive appeal?
When rewatching the movie, in fact, I could notice a genuine intention to make fun not only of cinema itself but also
Panic
always made with its metalinguistic plots – and that’s where the name of the parody comes from -, but also find silly ways to make people laugh with an irreverent production team. There are many sequences that do not involve any kind of aggression other than the characters causing ridiculous situations – and this has its charm when done with charisma and
timing
funny.
The film was responsible for revitalizing the parody subgenre, which had many exponents in previous decades, by subverting horror films. All this while trying to show the audience that cinema can also not take itself seriously through a crude humor. The formula has been exhausted, so that we no longer see productions like these today, but the arrival of this sequel, scheduled for June 2026, may change everything.
Everyone in Panic,
Everyone in Panic 3
e
Everyone in Panic 4
They can be viewed for free in the Play Market catalog. The last movie is on Telecine. Paramount+ also has the entire first trilogy.
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