movie review bad words

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Comedy best for older teens gets laughs with offbeat humor.

A Lot or a Little?

What you will—and won't—find in this movie.

Even the biggest grump can be softened, if only a

Guy Trilby isn't exactly a role model. He'

A man verbally tears apart the people around him -

A couple is shown having sex in a supply closet --

A movie about a spelling bee is word-crazy, includ

Some labels: Apple, Kahlua, Ford, Jameson.

Guy tends to drink a lot, whenever he finds himsel

Parents need to know that Bad Words is a mostly hilarious, sharp-edged comedy, with lots of crude humor. Though it features children as part of its cast, it's not kid-friendly. In fact, its lead character spares nobody his caustic verbal attacks, including kids. Prepare to hear loads of insulting and…

Positive Messages

Even the biggest grump can be softened, if only a little bit, with love, friendship, and understanding. Expect some sexist and racist comments played for humor.

Positive Role Models

Guy Trilby isn't exactly a role model. He's bitter, angry, and insulting. He's the kind of mean grouch who calls a little boy of Indian heritage "shwarma" and "tikka masala." However, he does follow an interesting trajectory in the movie, landing in a much warmer emotional space than when we first meet him. It's Chaitanya Chopra, his 10-year-old competitor at a spelling bee, who's more generous-hearted than most anyone else in the movie.

Violence & Scariness

A man verbally tears apart the people around him -- children, included -- and seems to be immune to the feelings of others, throwing insults and curses at them whenever they get in his way. In one scene, he derides a woman with graphic descriptions of her genitalia. Parents throw a chair and spit at a car carrying a hated spelling-bee rival.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

A couple is shown having sex in a supply closet -- we see only their faces but it's clear they're having sex from their conversation, movements, and facial expressions. It's played as over-the-top funny, not seductively. A man hires a prostitute to show off her breasts to a 10-year-old boy, which we see, too. The boy later asks if he can touch them. Again this is played for laughs, but it has a very sharp edge. A boy bugs an adult, who, irritated, mentions the word "auto-fellatio" to the child.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

A movie about a spelling bee is word-crazy, including curse words: "s--t," "---hole," "hell," "screw," "d--keater," "c--ksucker" and "f--k," sometimes said by, or in front of, a child.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Drinking, drugs & smoking.

Guy tends to drink a lot, whenever he finds himself near a bar or mini-bar. Sometimes he passes out drunk, and he's also shown driving soon after downing shots, with a child as passenger. Some adults smoke in the movie.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Bad Words is a mostly hilarious, sharp-edged comedy, with lots of crude humor. Though it features children as part of its cast, it's not kid-friendly. In fact, its lead character spares nobody his caustic verbal attacks, including kids. Prepare to hear loads of insulting and coarse language, including "c--ksucker," "s--t" and "f--k." There are also a few scenes showing a couple having sex, though we see only their faces, and a brief view from above the waist. An adult discusses sex with a child as if they're the same age, and even hires a prostitute to show off her breasts to him, which viewers see as well. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

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Community Reviews

• Parents say (5)
• Kids say (5)

Based on 5 parent reviews

Can’t get past the movie putting children in sexual situations, so it’s a no for me

What's the story.

The scathing Guy Trilby ( Jason Bateman ) won't stop until he wins the Golden Quill national spelling bee. Who cares if his competitors are children, like Chaitanya Chopra (Rohan Chand), a charming 10-year-old with a fiercely competitive father? A reporter Jenny Widgeon ( Kathryn Hahn ) is following Guy around, trying to get his story (and sometimes forgetting where the journalistic line of ethics is). Why is he on this quest? And will he prevail, despite the best efforts of spelling-bee administrator Dr. Deagan ( Allison Janney ) to foil him?

Is It Any Good?

BAD WORDS is f-u-n-n-y. But its humor is cloaked with the rage that Trilby has for pretty much everyone in the world, sometimes making it difficult to digest. Were it not for Bateman, who has the talent for making the most unappealing characters sympathetic, the film would have a hard time finding fans. How could one cheer on a hateful guy like Guy? But Bateman, who also serves for the first time as a feature film director here, knows how to milk a joke and when to let it do its thing on its own. And he taps into a humanity that Guy could've easily been stripped of, not to mention a keen sense of pacing and delivery. The rest of the cast acquit themselves well, too.

Nonetheless, Bad Words may alienate rather than attract fans. It pushes the envelope to the point of ripping. Some jokes seem ill-conceived, as when an adult hires a prostitute to show off her breasts to a child. One may laugh, but with a lot of unease. Sometimes that discomfort comes from a good place; you laugh because you recognize the worst parts of yourself. But other times, it also comes from a place where sensible people might ask if the filmmakers really needed to go there. It all adds up in the end to a mostly satisfying and entertaining, albeit discomfitting, movie -- one kids should probably steer clear of until they can spell "misanthrope" without stumbling.

Talk to Your Kids About ...

Families can talk about Guy's relationship with Chaitanya: What draws them together? Why does Chaitanya put up with Guy's insults?

Guy Trilby swears a lot. Do you think the filmmakers drive home this point way too often, or is it necessary for his character? Discuss swearing in movies with your family.

Movie Details

• In theaters : March 14, 2014
• On DVD or streaming : July 8, 2014
• Cast : Jason Bateman , Kathryn Hahn , Allison Janney
• Director : Jason Bateman
• Inclusion Information : Female actors
• Studio : Focus Features
• Genre : Comedy
• Run time : 89 minutes
• MPAA rating : R
• MPAA explanation : crude and sexual content, language and brief nudity
• Last updated : February 17, 2023

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Ebiri on Bad Words : A Lot Darker and More Twisted Than You Might Expect

Jason Bateman has become so good at playing milquetoasts that there’s something immediately bracing about watching him play an actual jerk in Bad Words . As Guy Trilby, a 40-year-old taking advantage of a loophole in the rules for the Golden Quill National Spelling Bee, the actor turns his characteristic deadpan into a weapon: He maintains his even-keeled delivery, and hurls agonizingly cruel insults at the world — about people’s vaginas, their ethnicities, their weight. The film itself is uneven, but it’s kind of awesome seeing Bateman act so vile.

Directed by Bateman himself from a screenplay by Andrew Dodge, and billed as a zany comedy — Bad Santa for high-achievers — Bad Words is a lot darker and more twisted than you might expect. Why is Trilby even here? What would possess a grown man to lay orthographic waste to a bunch of nervous middle schoolers? Though he doesn’t at first tell us what his aim is, Guy does reveal early on that he has a plan. It’s just not a good one; “I’m not that good at thinking things through,” he tells us, in voice-over. In the meantime, Guy pisses off parents, organizers, and the kids — save for one, Chaitanya Chopra (Rohan Chand), a sweet but sheltered Indian-American boy who brings out both the best and the worst side of our antihero. Together, they sort of bond, as they prank motorists, put live lobsters in toilets, and solicit prostitutes.

When he’s not with Chaitanya, Guy spends time with a vaguely neurotic journalist (Kathryn Hahn) who is chronicling his bizarre journey and occasionally having really shameful, messy sex with him; she’s both his confidante and his muscle, intervening with threats of lawsuits whenever spelling-bee organizers try to bar Guy from attending. As a result, the organizers are reduced to finding more clandestine ways of getting rid of Guy — which includes, at one point, rigging the contest so that he has to spell ridiculous words like floccinaucinihilipilification while other kids get gimmes like nougat and conjecture . It’s funny stuff, provided you find something inherently funny about the idea of spelling bees in the first place; part of the pleasure of a movie like this is just watching the sight of people on a stage spelling words like antidisestablishmentarian and absquatulate .

Not knowing exactly where Bad Words is going puts us in an interesting moral limbo — almost as if Guy’s weirdness was just an existential fact for the world to deal with, and not a means to a more mundane end. The film is at its best when it’s hovering aimlessly without any apparent purpose in the world of this embittered, misanthropic little man. As the flustered organizers and the agitated parents take increasingly desperate measures, the film seems to flirt with a Clockwork Orange –like study in competing outrages: What’s worse, Guy’s determined dickishness, or the evil hoops everyone else jumps through to try and get rid of him? At other times, you sense that the film wants to confront Guy’s own sense of entitlement: By competing with these kids, is he trying to claim a childhood he never had thanks to his own shitty upbringing?

For a while, the film’s inability to focus winds up working partly to its advantage, as it gives us leave to wonder about (and wander amid) its off-kilter character interactions and its spirited, confrontational weirdness. You almost wish the movie would never quite make sense. But alas, screenplays nowadays always have to add up to something, and so make sense Bad Words eventually does. And while the resolution of Guy Trilby’s journey winds up being a reasonably touching one, you may find yourself yearning for the vulgar nuttiness of earlier scenes, when his plan was a lot less clear and this strange little movie more entertainingly unhinged.

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Bad Words Review

Bateman is let off his leash in this foulmouthed comedy..

Jason Bateman's directorial debut is an agreeable, vulgar comedy that mostly delivers, thanks to an enjoyable story and a strong cast. That said, Bad Words isn't the most original movie, and while it makes for a good distraction, its raunchy sensibilities aren't all that hard-hitting. [poilib element="accentDivider"] Max Nicholson is a writer for IGN, and he desperately seeks your approval. Show him some love by following  @Max_Nicholson  on Twitter, or  MaxNicholson  on IGN.

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• Cast & crew
• User reviews

A spelling bee loser sets out to exact revenge by finding a loophole and attempting to win as an adult. A spelling bee loser sets out to exact revenge by finding a loophole and attempting to win as an adult. A spelling bee loser sets out to exact revenge by finding a loophole and attempting to win as an adult.

• Jason Bateman
• Andrew Dodge
• Kathryn Hahn
• Allison Janney
• 171 User reviews
• 125 Critic reviews
• 57 Metascore
• 2 wins & 4 nominations

• Jenny Widgeon

• Dr. Bernice Deagan

• Chaitanya Chopra

• Pete Fowler

• Proctor at Spelling Bee

• Bedazzled Judge
• Brace Faced Girl

• Sriram Chopra

• Bald Glasses Judge

• Bill Murhoff

• Braden Aftergood

• Beet Red Father

• Petal Dubois

• Eric Tai's Mother
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia Directorial debut of Jason Bateman .
• Goofs The definition for "Infinitesimally" is wrong. The word is an adverb; the definition given is for the adjective.

Guy Trilby : [to a mother who swore in the presence of Chai] Why don't you take your potty mouth, go locate your pre-teen cock-sucking son and stuff him back up that old blown-out sweat sock of a vagina and scoot off back to whatever shit-kicking town you came from!

• Connections Featured in Chelsea Lately: Episode #8.38 (2014)
• Soundtracks Symphony No. 1 in C Major, Op. 21, 1. Adagio Molto; Allegro Con Brio Performed by Leonard Bernstein and the New York Philharmonic Written by Ludwig van Beethoven Courtesy of Sony Masterworks By arrangement with Sony Music Licensing

User reviews 171

• Jun 25, 2014
• How long is Bad Words? Powered by Alexa
• March 28, 2014 (United States)
• United States
• Official Facebook
• Official site
• Kötü Sözler
• Sportsmen's Lodge - 12825 Ventura Blvd., Studio City, Los Angeles, California, USA (hotel)
• Aggregate Films
• Darko Entertainment
• Digital Image Associates
• See more company credits at IMDbPro
• $10,000,000 (estimated)
• Mar 16, 2014

Technical specs

• Runtime 1 hour 29 minutes
• Dolby Digital

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TIFF 2013: BAD WORDS Review

From TIFF 2013, read Matt's Bad Words review for Jason Bateman's directorial debut, starring Jason Bateman, Kathryn Hahn, Rohan Chand, and Allison Janney.

As I’ve said in previous reviews, I’m a Jason Bateman fan.  I think his critics are wrong when they say he only plays the straight man role.  That’s the role he’s best known for, and even then “straight man” is a bit of a misnomer.  Instead, Bateman’s adept at playing an outwardly nice guy with a not-very-nice guy deep down.  Sometimes the inner guy is moderately deceptive like Arrested Development , sometimes he’s aggressive like Horrible Bosses , and in the case of Bateman’s directorial debut, Bad Words , he’s one of the meanest motherfuckers around.  Bateman’s secret weapon is that he still looks and talks like a nice guy, and because he pushes this new character to a level of remarkable despicability, Bad Words is a damn funny flick that plays it safe by the script, but hits hard with the jokes.

Guy Trilby (Bateman) is a professional proofreader and a contender in the Golden Quill Spelling Bee even though he’s forty-years-old and most of his competitors aren’t old enough to have graduated to the eighth grade.  Due to a loophole in the rules, Guy didn’t graduate past eighth grade either, which makes him eligible and an absolute embarrassment to the competition.  Happily inducing the tears of children and the wrath of their parents as well as Golden Quill director Dr. Bernice Deagan ( Allison Janney ), Guy is keeping his endgame a secret even from Jenny ( Kathryn Hahn ), a reporter whose publication is sponsoring Guy’s dubious run at the championship.  However, his cold heart begins to warm a bit when he develops an unlikely friendship with fellow competitor Chaitanya ( Rohan Chand ).

Making children cry in hard-R comedies is nothing new.  Robert Downey Jr. even punched a child in Due Date .  Bad Words stands out by making children cry as a central tenet of the movie’s comic appeal.  These aren’t even bad kids.  Guy is a childish person, and readily admits it in the opening voice-over.  But if you’re going to be mean to kids, and do so on a consistent basis, then you have to nail the insults.  Anything less is just straight bullying, and no one wants to see that.  Thankfully, screenwriter Andrew Dodge comes up with jaw-dropping doozies that hit at kids and parents alike.  His jokes are sexist, racist, homophobic, and Guy doesn’t hesitate at sabotaging kids by destroying their self-esteem, although almost every victim provokes him.  It’s a childish comeback except the comeback has the force of a freight train.

The over-the-top insults and absurdity of the situation are parts of why the mean-spirited comedy works; the other essential part is Bateman.  His attacks are so powerful not only because of the words, but because he says them so dismissively.  His victims aren’t even worth the effort to get angry.  But Bateman is so clean-cut and his delivery so gentle and soothing that every insult hits like a sucker punch.  Or to use another violent analogy, Guy is hilarious because he takes down his opponents in one cut rather than slowly, sadistically turning the knife.  He doesn’t relish insulting other people.  He’s just brilliant at it.

However, the movie is incredibly conscious of not taking its comedy so far as to alienate the audience.  Bateman peppers the score with mischievous music, shoots in a dry, detached style (although there are some awkward lens flares) except when Guy is partying with Chaitanya.  Chaitanya also has to be Guy’s polar opposite to provide some semblance of sweetness to the movie.  His golly-gee manner makes him like a punching bag clown that Guy hits and then springs right back up again still smiling.  Chaitanya’s relationship with Guy is the constant reminder that Guy may be an incredible ass-hole, but not a complete monster.

Some will find Guy Trilby completely irredeemable even when his true motive is revealed, and some of his insults, especially the ones directed at Chaitanya, may make some audience members cringe.  Most viewers should be aware of their tolerance limit for mean-spirited comedy, and if you don’t know your limit, Bad Words will certainly test it.  For my part, comedy either works or it doesn’t, and it works when the people who make the jokes know what they’re doing.  Bateman’s directing isn’t audacious, but he’s the perfect choice for this kind of role, and the main reason why Bad Words can give a big, smiling middle finger to dejected children.

For all of our TIFF 2013 coverage, click here .  Here are links to all of my TIFF 2013 reviews:

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By Peter Travers

Peter Travers

Forget all the usual feel-good shit they’re shoveling at the multiplex. Bad Words , starring Jason Bateman in a tour de force of comic wickedness, takes sinful pleasure in rubbing our noses in the toxic joys of revenge. Let me explain. Bateman, who also makes a killer feature-directing debut, plays Guy Trilby, a 40-year-old proofreader, who decides to enter a kids’ spelling bee. Guy plays hard. Gloves off.

Sun Tzu’s The Art of War has nothing on Guy for rules of intimidation. Age, race, creed and crying like a baby won’t deter him from crushing the preteens who take him on. “Your chair called me for help,” he tells a fat kid, and a girl is teased about her period. Compared to Guy, Billy Bob Thornton’s Bad Santa is Little Miss Sunshine.

Kids and parents try to force Guy off the stage with everything from cold stares to death threats. No go. Guy is in on a loophole. Despite his photographic memory, he never got past the eighth grade in school, which makes him eligible, according to the rule book.

As the spelling bees move from regionals to nationals, Guy starts getting media attention from reporter Jenny Widgeon (the priceless Kathryn Hahn), who feels disgusted when they have sex but tries to learn the reason for Guy’s psychoses. It comes, but not too soon, thanks to a take-no-prisoners script from gifted newcomer Andrew Dodge.

Just before the televised verbal shootout at the Golden Quill, administered by Dr. Deagan, a deliciously officious Allison Janney, Guy lets his guard down a bit with 10-year-old Chaitanya Chopra (the excellent Rohan Chand), an Indian rival he calls Slumdog. The boy’s relationship with his pushy father touches a chord in Guy. He and Chaitanya have a night on the town that pushes the limits of taste (watch for the lobster). Who’d want it any other way?

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Authority figures, such as the Golden Quill’s founding patriarch, played by the great Philip Baker Hall, get the hardest pounding. Hall’s performance is a marvel. As a first-time director, Bateman shows a wondrous affinity with actors. None more than Hall, who, at 82, can still teach a master class. Whether you remember him best as Nixon in Robert Altman’s Secret Honor or in commanding roles in Paul Thomas Anderson’s Hard Eight, Boogie Nights and Magnolia , or even as Mr. Bookman, the library cop in a classic episode of Seinfeld (“Lemme tell you something, funny boy!”), Hall is the real deal in actors. I salute Bateman for giving him another juicy part.

OK, Bad Words drifts toward sentiment near the end. But it never gets sloppy about it. In this profanely funny comedy of bad manners and hurts that won’t heal, Bateman shows the same skill as a filmmaker that he does as an actor. And that’s something to see. So do it.

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Screen Rant

'bad words' review, bad words plays out as a farce that (sadly) just isn't all that insightful, witty, or creative with how it approaches its premise - one that is innately kind of funny, but only goes so far..

Bad Words  stars Jason Bateman as Guy Trilby, a 40-year old proofreader for warranties (and unapologetic misanthrope), who - because he dropped out of middle-school so many years earlier - is able to exploit a loophole in the rules for the Golden Quill National Spelling Bee, which allows him to compete alongside the various over-achieving pre-high schoolers in the event. Guy's brilliant understanding of the English language - coupled with his willingness to psyche out the much-younger competition - soon lands him a spot in the Golden Quill finals, much to the dismay of the other contestants' parents.

However, obstacles soon present themselves in the form of contest official Dr. Bernice Deagan (Allison Janney) - who is determined to put an end to Guy's circus-act - and 10-year old Chaitanya Chopra (Rohan Chand), a precocious and over-enthusiastic Golden Quill contestant who inexplicably takes a liking to Guy. Meanwhile, online journalist Jenny Widgeon (Kathryn Hahn) - who is funding Guy's antics - continues to push her subject to answer the question on everybody's mind: Why would a grown-man so willingly do all of this, knowing that it will bring him nothing but scorn from the public?

Bad Words is the feature-length directorial debut for Bateman, who drew from an original screenplay - one which made the 2011 Hollywood Black List of Best Unproduced Scripts - written by relative newcomer Andrew Dodge. Unfortunately, Bad Words doesn't make a strong impression, as it's weighed down by too much uninventive and repetitive humor (coupled with weak storytelling, on the whole).

Behind the camera, Bateman manages to assemble select sequences that leave a good impression - including an effective silent comedy montage and some interesting framing. Yet, at other times, the film's ultra-lower budget (coupled with Bateman's lack of directing experience outside of the TV medium) results in awkward camera work and cinematography. It doesn't help that the editing by Tatiana S. Riegel ( Fright Night ) has a bad tendency to be slack, giving rise to comical exchanges and scenes that don't have much rhythm to them.

Dodge's script has a mean-spirited premise with a nasty sense of humor, in the vein of something like  Bad Teacher . Unfortunately, its jokes don't have much bite, in no small part because they're often formulaic. The final result is a film that feels like a very long sitcom, albeit one where the protagonist is allowed to casually make R-Rated non-PC jokes. Bad Words never takes off as satire either, though it frequently toys with the idea - by starting to skewer the institution at the heart of its plot (e.g. mocking parents who push their kids to win no matter what the cost) - but never fully does, sorry to say.

That's also disappointing because Dodge's script does have a simple, yet smart through-line (i.e. that basic actions can be more harmful than even the worst of words). Some of the better parts of the film address this idea, through Bateman's solid dramatic performance - that which subtly communicates the emotional hole at the center of this otherwise prickly, foul-mouthed man named Guy. Unfortunately, that material is too little, too late, resulting in a film that's only sporadically funny, until it tries to get all warm and gooey on you, while still being as "edgy" as it was before.

Bateman, as indicated before, does bring more depth to the Guy Trilby character than the script manages. He's likewise able to get more mileage out of the movie's written jokes than someone else might have, through his usual sharp timing and deadpan delivery. All the same, no matter what racist, hateful and/or rude thing the Guy character says, it's never truly shocking (much less, shockingly funny), and he's not given enough humanity to make his behavior convincing as a defense mechanism that makes him empathetic.

Rohan Chand ( Jack and Jill ) as Chaitanya is pleasantly bright-eyed and cheery, which allows his character to have decent chemistry with Bateman's Guy. However, the storyline that follows their unconventional friendship is pretty straight-forward and predictable, too much so for the actors involved to make it either touching and/or funny. The same goes for Kathryn Hahn ( We're the Millers ), who makes her reporter character Jenny Widgeon charmingly pushy and neurotic - despite her often being the butt of over-used jokes and other bland comical payoffs.

As for the rest of the Bad Words cast, Allison Janney ( The Way Way Back ) is wasted as the stern and disapproving official who runs the Golden Quill spelling bee. Her attempt to foil Guy's efforts is as by-the-numbers as most of the reactions by upset parents in response to Guy's "outrageous" antics. Other recognizable faces that show up - but have little in the way of interesting things to do - include Ben Falcone (a.k.a. Melissa McCarthy's husband) as an announcer at the spelling championship and Philip Baker Hall ( Magnolia ) as the founder of the Golden Quill event, Dr. Bowman.

In the end, Bad Words  plays out as a farce that (sadly) just isn't all that insightful, witty, or creative with how it approaches its premise - one that is innately kind of funny, but only goes so far. There are laughs to be had here, and moviegoers who are die-hard fans of Jason Bateman's comedy style might find that his performance is enough to make the movie worth checking out - and hence, may find it slightly more enjoyable. For others, though, this film mostly plays out as a failed attempt to emulate the Bad Santa formula.

In case you're still undecided, here is the trailer for Bad Words :

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Bad Words is now playing in theaters nation-wide. It is 88 minutes long and Rated R for crude and sexual content, language and brief nudity.

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Bad Words Reviews

Bad Words casts a hilarious spell.

Full Review | Original Score: 3.5/4.0 | Sep 2, 2020

The representation of super-focused oddballs in Bateman's film is not terribly intriguing.

Full Review | Aug 13, 2020

Bad Words is utterly wrong in all the right ways ... a small movie with a huge mouth. When you aren't laughing, you'll find yourself smiling at its sweetness.

Full Review | Jun 29, 2020

A plodding mess punctuated by scenes of audacious bad taste.

Full Review | Original Score: 2/5 | Nov 22, 2019

It is capable of being funny, sure, but it's a movie that works way better in its dramatic moments.

Full Review | Oct 31, 2019

There's a casual energy to Bad Words that makes it one of the few comedies you actually wouldn't mind being a little bit longer.

Full Review | Original Score: 3/5 | Aug 29, 2019

"Bad Words" isn't afraid to cross the line of political correctness, an R-rated comedy that features plenty of laughs but also has gags that are rather uncomfortable to watch (but effective as well).

Full Review | Original Score: B | Feb 1, 2019

Yes, the film is foul, crude, vulgar, but especially: It's funny. Bad Words is the kind of movie you should be ashamed you enjoyed so much.

Full Review | Original Score: 7/10 | Oct 12, 2018

"Bad Words" has a dark, nasty streak a mile wide, but there is something ever so slightly redemptive at its core, that makes it more than just an exercise in unpleasant behavior.

Full Review | Aug 22, 2018

It is truly a bizarre premise for a movie, but it works.

Full Review | Original Score: 3/4 | Aug 21, 2018

Although rather shallow in its characterizations, Bad Words makes up for this deficiency in its rollicking, R-rated demolition of a familiar character-building institution: the spelling bee.

Full Review | Aug 8, 2017

Bateman has cornered the market on ornery average dudes with rapier wits.

Full Review | Original Score: 2.5/4 | Jul 14, 2016

Chand holds his own opposite Bateman and steals much of the film with a deceptively ruthless cunning, hidden beneath the cutest, most innocent smile in the world.

Full Review | Original Score: B | Jun 23, 2016

Bateman handles the edgy material with confidence and gets excellent performances from co-stars Kathryn Hahn, Allison Janney and Philip Baker Hall, and particularly from Rohan Chand.

Full Review | Original Score: 3/5 | May 15, 2016

The film's dialogue is so crude, its star so inherently - and paradoxically - likable, and its plot so lightweight that it essentially cancels itself out.

Full Review | Original Score: 2/5 | Apr 9, 2016

...a withering send-up of our kid-obsessed culture, in which childhood has been reimagined as a procession of parent-directed accomplishments.

Full Review | Original Score: 3.5/4 | Nov 14, 2014

[Allison Janney's] presence on any show or movie ultimately has a kind of 'Poochie' effect: whenever she's not on screen you just expect everyone else to be wondering, "Where's Janney?", hoping that somehow spirits her back.

Full Review | Original Score: 3/5 | Oct 20, 2014

Bad Words is a worthwhile -- if predictable -- dark comedy, particularly for those with a somewhat cruel sense of humor.

Full Review | Original Score: 6/10 | Aug 18, 2014

Bateman...is one of those actors whose immense warmth can't be concealed no matter how disagreeable the character and he manages...to keep the fraying edges...forgivable.

Full Review | Jun 28, 2014

Bad Words does to spelling bees what Bad Santa did to Christmas phoniness.

Full Review | Original Score: 3/4 | May 14, 2014

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• DVD & Streaming

Content Caution

In Theaters

• March 14, 2014
• Jason Bateman as Guy Trilby; Kathryn Hahn as Jenny Widgeon; Rohan Chand as Chaitainya Chopra; Allison Janney as Dr. Bernice Deagan; Philip Baker Hall as Dr. Bowen

Home Release Date

• July 8, 2014
• Jason Bateman

Distributor

• Focus Features

Movie Review

Guy Trilby is not a likeable fella. He doesn’t deal in common sense. And he couldn’t care less what you think of him.

It’s a bad combination for a bad movie.

The fact that most parents would (and do) sneer at the idea of a 40-year-old man competing in a kids’ spelling bee doesn’t faze him in the slightest. And since the rules state that competitors can’t have passed the 8th grade, he’s quick to point out that he hasn’t. This junior high dropout turned proofreader for product warranties may not have a lot going for him, but he’s a genius at spelling, and he’s determined to win the national bee whether the world likes it or not.

Local reporter Jenny Widgeon thinks there’s a story in Guy’s efforts. The dude’s foulmouthed and nonchalantly offensive, but that’ll just add texture to the tale. And once Jenny pries the real reason he’s competing out of him, she’s sure it’ll make for a top-shelf article. Hey, that’s why she’s even agreed to sponsor his run for the big spelling trophy.

Truthfully though, Guy Trilby doesn’t care a whit about Jenny’s story. He doesn’t care that his participation is febrifacient for the spelling bee officials. Nor is he concerned that everyone at the event questions his honorificabilitudinity. Because he can easily spell both of those sesquipedalian words and, besides, keeping everybody off balance works in his favor. He’ll do what he has to to freak out the kids, royally offend the adults and win the prize.

And then he’ll get what he really wants: r-e-v-e-n-g-e!

Positive Elements

A young Indian boy named Chaitainya Chopra tries to befriend Guy and is foully rebuffed for his efforts (several times). But eventually the two find some common ground—though their interactions oftentimes head down crude, inappropriate pathways. (How’s that for a puny kernel of positivity wrapped up in loads of loathsomeness?) Oh, and Guy eventually realizes that his planned revenge is unnecessary and pulls the punch.

Spiritual Elements

Jokes are made about “praying to Mecca” and “slaughtering” someone like a “sacred cow.”

Sexual Content

Crude, nasty and noxious sexual quips are aimed at adults and kids alike, ranging from comments about gay and lesbian sex acts to oral sex to child rape to auto-fellatio to accusations of adultery to the size and shape of a mother’s aging genitalia.

We see Guy and his girl (Jenny) having sex together on several occasions. These scenes are sometimes played for laughs, usually protracted and designed to be as realistic-looking as possible. (The pair is either partially dressed or covered by a translucent shower curtain.)

While out on the town with Chaitainya, Guy makes arrangements for a very large-breasted prostitute to expose herself to the boy. As the 10-year-old gazes lustfully at the woman, the camera also closely ogles her breasts. Guy buys a pornographic magazine for his young friend, too, and we see naked women in its pages.

Violent Content

Chaitainya hits an elderly man in the face with a chair, leaving a small gash. An angry parent smashes a car window with a folding chair. Guy is kicked in the crotch by a kid.

Crude or Profane Language

More than 20 f-words and about a dozen s-words. Multiple uses of “b‑‑tard,” “b‑‑ch,” “d‑‑n,” “h‑‑‑” and “a‑‑” (all words we’ve chosen not to spell correctly here). Jesus’ and God’s names are misused seven or eight times total (with God’s getting combined with “d‑‑n” about half the time). Guy is constantly spewing out a steady stream of rude-to-obscene references to male and female body parts. He flips his middle finger on several occasions.

Then, to make matters worse, Guy actively encourages young Chaitainya to follow his foul example. And by picture’s end, the kid does just that—spitting out much of the same crude and profane language.

Drug and Alcohol Content

Guy goes into Chaitainya’s hotel room and drinks all the booze from his mini-fridge—passing out soon after. He takes Chaitainya on an all-night club romp, passing the boy glasses of booze as he hides under the bar. Guy and Jenny down mixed drinks at a poolside bar. Jenny and a federal agent drink wine. She smokes a cigarette. A boy imagines his mom smoking with a man after sex.

Other Negative Elements

The director of the spelling bee cheats by pulling up extra difficult words to try to eliminate Guy. Guy takes steps to throw the contest. (It’s not for himself, though, and that’s supposed to counterbalance his dishonest and manipulative actions.) He uses a packet of ketchup to torment a young girl contestant about her menstrual flow. He spits racist humor at Chaitainya, calling him a “slumdog,” telling him to “shut your curry hole” and making jokes about him being a terrorist.

After being put in a hotel room without a toilet, Guy plops a plastic bag full of feces on the facility’s front counter. Guy and Chaitainya set up a trap in a bathroom that results in a lobster clamping down on and dangling from a man’s testicles.

When a comedy wields an obvious double entendre of a title and features a movie poster that’s a close-up of someone dropping an f-bomb, well, you get a pretty good idea of what kind of movie it’s gonna be. So, let me simply spell out what you’ve probably already guessed:

Jason Bateman’s directorial debut, Bad Words, is yet another raw, misanthropic low-comedy spitball. What  Little Miss Sunshine did for adolescent beauty pageants and  Bad Santa did for a certain jolly old elf and  Jacka‑‑ Presents: Bad Grandpa did for octogenarians, this pic does for kids’ spelling bees

There are scant few truly funny moments, with only a few hints surviving long enough to show what kind of goofily endearing movie this could have been if it had studied up on social graces. But … it didn’t. And so viewers are left with scene after scene after scene of a young boy being encouraged to romp through cringe-worthy and incredibly inappropriate (developmentally damaging) escapades, and an adult who veers from racist rants to pornographic antics to terrorizing a young girl about her menstrual cycle.

This flick may not be as scary as suffering from defecaloesiophobia or as painful as pneumonoultramicroscopicsilicovolcanoconiosis, but it comes close on both counts.

After spending more than two decades touring, directing, writing and producing for Christian theater and radio (most recently for Adventures in Odyssey, which he still contributes to), Bob joined the Plugged In staff to help us focus more heavily on video games. He is also one of our primary movie reviewers.

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Movie review: ‘Bad Words’ is wonderfully good

Don’t let the fact that this is a comedy about kids’ spelling bees turn you off. It’s a movie that’s equally nasty and funny, and though a lot of it is about kids, and one of the lead actors is 9 years old, it’s definitely not for kids. This is an adult movie all the way, bearing a tonal resemblance to “Bad Santa,” and featuring about as many f-bombs as a typical Tarantino film.

It also has, among other ingredients, plenty of heart, a taste of revenge, the intensity of serious competition, displays of both good and bad sportsmanship and a mystery at its center. The title could refer to both the incredibly tough words that are given to contestants in the many small-town spelling competitions leading up to the big national one. The first word one youngster is assigned is “dactylogram.” Or it could, and likely does, act as a warning about the freewheeling saltiness of the script. The first of those bad words comes less than a minute in, and many more follow.

This is about Guy Trilby (Jason Bateman), a miserable wretch of a man who’s stuck in a dead-end career of proofreading product warranties, and starts entering spelling bees, in which he’s the oldest contestant by about three decades, in order to ... well, that’s where the complicated, but the smoothly told script leaves you hanging for most of the film. It would have been more of a treat if the payoff was a little stronger, but the trip the film takes in getting there is well worth watching.

The piece of the plotline that I’ve already revealed may sound flimsy and illogical. I mean, how can an adult get away with competing in kids’ spelling bees? But Guy has a technicality on his side, one having to do with the fact that he dropped out of school in the eighth grade, thereby making him eligible. So right away, we get a film full of confused kids who have to sit next to him in auditoriums that are packed with angry parents who believe he’s trying to ruin everything for their kids. We also hear from contest officials who want him gone but realize that he’s gotten around some big loopholes.

Guy’s job has made him familiar with plenty of difficult words, and he’s a damn good speller (his first word is “frabjous”), but he’s got no social graces. He’s self-centered and he’s not at all concerned about being quietly cruel in equal measure to kids and adults. But this is a comedy, and it’s mostly fast and funny, both verbally and physically, though it takes a brief dramatic turn near the end.

Bateman, making his directorial debut, brings the film in at a tight 88 minutes, nicely getting himself and his actors into the zippy rhythms of the script by first-time screenwriter Andrew Dodge. Bateman’s Guy is a man on a mysterious mission, the gist of which he won’t even share with Jenny (Kathryn Hahn), the journalist who’s accompanying him on his cross-country trip from bee to bee. Guy and Jenny don’t really get along too well, but they do take part in one of modern cinema’s strangest fully clothed sex scenes.

Guy also must butt heads with the national spelling bee director Dr. Deagan (a deliciously mean Allison Janney) and the man who (I think) founded this biggest of bees, Dr. Bowman (Philip Baker Hall). There’s terrific and chaotic chemistry between Bateman and those two actors, but the best parts of the film are when he’s spending time with his most formidable opponent, young Chaitanya (Rohan Chand). Watching them together, you’re kept wondering if they’re bonding or trying to psych each other out. Chand (“Jack and Jill”) plays it in a completely believable manner, coming across as nothing less than a real and very smart 10-year-old who happens to be spirited but lonely, and is in need of a friend. And Bateman, who could easily have been distracted by his directing chores, turns in one of his best performances, keeping it low key, carefully measured and on a remarkably even keel.

It’s a refreshingly original adult film that goes out on a very unexpected note because my, oh my, it sure does have an odd last act.

Ed Symkus covers movies for More Content Now.

BAD WORDS Written by Andrew Dodge; directed by Jason Bateman With Jason Bateman, Rohan Chand, Kathryn Hahn, Allison Janney, Philip Baker Hall Rated R

Christian Movie Reviews - Family Friendly Entertainment

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Bad Words Brings Out the Worst in Bateman

• Christian Hamaker Contributing Film and Culture Writer
• Updated Jul 10, 2014

DVD Release Date: July 8, 2014 Theatrical Release Date: March 21, 2014 Rating:  R for crude and sexual content, language and brief nudity Genre: Comedy Run Time: 88 min. Director: Jason Bateman Cast: Jason Bateman, Rohan Chand, Katherine Hahn, Phillip Baker Hall, Allison Janney, Ben Falcone

Ever since his childhood roles on Silver Spoons and It's Your Move , Jason Bateman has displayed a devious side. More Eddie Haskell than Bobby Brady, Bateman has made a career of playing characters who could alternate between charm and smarm—a smart-aleck, but likeable in his own way.

Bateman's personality switch-hitting suited him into adulthood as he transitioned from memorable bit parts ( State of Play ) and supporting roles ( Juno ) to lead performer ( Extract ). He had one of his biggest hits in Identity Thief , where he played the straight man to Melissa McCarthy's criminal comic foil, even though that story's attempts at weaving in redemptive elements didn't quite gel.

Bad Words takes a similar tack, allowing Bateman's character, 40-year-old Guy Trilby, to unleash understated but lacerating attacks against children and parents in order to carry out a deeply personal plan. This acting out is played for laughs, making for a more or less uncomfortable viewing experience depending on your tolerance for such pranks and put-downs, even if you’re able to tolerate, as the title indicates, the barrage of bad language.

Parents of the other contestants aren't happy. Guy shouldn't be there, they argue, especially because he keeps winning. Guy's a great speller, of course, but his strategy goes beyond knowing which letter goes after which. It's in psychological warfare that Guy has a great advantage, with his decades of life experience allowing him to play his young contestants for fools. He criticizes one bluntly spoken youngster for weighing too much, suggests to another that his mother has been unfaithful to the contestant's father and uses some strategically placed ketchup to convince a contestant that she's having her first period.

As Guy works his way to larger events, he befriends a young Indian boy named Chaitanya ( Rohan Chand , Jack and Jill ), whose father has left him alone in a hotel room down the hall from Guy. We can figure out where the story will go, with Guy teaching Chaitanya how to live a little, while Chaitanya helps Guy rediscover a sense of innocence and wonder. Except that Bad Words tilts the balance decidedly in the direction of Guy teaching Chaitanya the lessons the grown man thinks are important. These involve the minibar, theft of a lobster and an encounter with a prostitute.

Sound like a barrel of laughs? Bateman can be appealing when playing up his more manipulative qualities, but Bad Words is so reliant on the crueler side of Bateman's persona that it becomes grating and unfunny, not to mention predictable. Don't let the movie's inclusion of a child contestant as a main character fool you; this is an R-rated comedy that makes you worry for the young actor playing Chaitanya, who's asked to say and do things that will make parents cringe.

Bad Words is Jason Bateman's directorial debut, and while it's not distinguished work, the direction isn't the problem here. No director could have turned this script, by Andrew Dodge, into comic gold. Bad Words doesn't even aim for bronze. Instead, it's content to be the kind of movie people will find on cable TV and watch in snippets, thinking of how much better Bateman has been in other roles and in other films.

Let's hope for better from Bateman next time out, whether in front of the camera or behind it.

• Language/Profanity: Lord's name taken in vain; several uses of the f-word; lots of foul language; taunting of children; ethnic slurs; jokes about sexual acts and graphic sexual language; a child says a form of the f-word and is asked, jokingly, "Did your soul burst into flames?"; scatological references; a middle finger extended; jokes about pornography
• Drinking/Smoking:  Several instances of drinking, including with a child
• Sex/Nudity:  A reference to breast size; sex scenes played mainly for laughs; a man runs out of a bathroom stall with his pants down; a prostitute exposes her breasts to a boy, who later asks permission to touch them
• Violence/Crime:  Guy pays a prostitute to show her breasts to Chaitanya; a kick to the crotch; a man is hit with a chair
• Religion/Morals/ Marriage :  Guy says his upbringing was sad because his dad wasn't around; a man, bickering with a woman, asks, "Are we married?"; a sarcastic suggestion about praying toward Mecca; Guy plants the idea that a contestant's mother has been unfaithful to her husband

Publication date: March 21, 2014

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Bad Words (United States, 2014)

There's no debating that Bad Words contains some big, politically incorrect laughs. The movie isn't awash in them but there are enough to keep the chuckles coming. The film's problem is that, despite obvious aspirations to be more than just a profane joke factory, it never fulfills its dramatic ambitions. The screenplay, credited to Andrew Dodge, wants to tell the story of a damaged individual and how, through his actions and interactions, he heals the festering wound in his soul, but too much of the material necessary to this tale never makes it to the screen. So, although Bad Words can be rightfully described as "funny," it feels more like half a movie than a whole experience.

The premise is sufficiently off-kilter to draw in the viewer. 40-year old Guy Trilby (Jason Bateman), a misanthrope of the highest caliber, has discovered a loophole in the rules that govern a national spelling bee. Propped up by the sponsorship of reporter Jenny Widgeon (Kathryn Hahn), he elects to enter and compete against contestants a quarter of his age. Guy has a distinct advantage: he possesses a photographic memory and has four decades of "word experience" to draw upon. The spelling bee's acting director, Dr. Deagan (Allison Janney), and chairman, Dr. Bowman (Philip Baker Hall), do what they can to dissuade Guy to withdraw, but he refuses. Meanwhile, he starts up an unlikely friendship with a 10-year old fellow competitor, Chaitanya Chopra (Rohand Chand), whose seeming openness camouflages an underhanded plot.

This is Jason Bateman's directorial debut and he has learned a thing or two from his past collaborations about how to deliver a punch-line. Despite its flaws, Bad Words contains some laugh-aloud moments. The best of these occurs when the movie depicts the TV coverage of the spelling bee's final day. There's also a profanity-laden tirade delivered by Guy toward a woman who accosts him while he's eating dinner with Chaitanya.

The movie is littered with half-developed subplots. It's as if Bad Words was originally intended to be much longer but was trimmed (either before filming or during the editing process) in order to fit it into a tidy 90-minute package. We get the skeleton but there's not much flesh on the bones. The friendship between Chaitanya and Guy relies heavily on clichés and never attains the level of genuineness necessary for the finale to achieve the desired traction. The quasi-romance between Guy and Jenny is assembled primarily out of inferences. Two other characters - those played by Allison Janney and Philip Baker Hall - are so thinly written that they serve as little more than plot devices.

The most fascinating aspect of Bad Words may be the degree to which Bateman generates viewer sympathy for a thoroughly despicable character. We're in Bad Santa territory here. In another movie with a different viewpoint, Guy would be the clear villain - a predatory monster who corrupts and abuses children. However, in part because of Bateman's inherent likability and in part because of the streak of dark humor running through the project, it's not difficult to become invested in Guy despite his innate perversity.

Sardonic, profane comedies have become popular in recent years and Bad Words represents a mediocre example. Those in search of a few good laughs will find them but the film's limitations prevent it from offering something more satisfying or memorable.

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Movie Review: Bad Words

The premise of “Bad Words” is simple enough. A foul-mouthed and angry 40-year-old man-child Guy Trilby (Jason Bateman, “Arrested Development”), for some unknown reason, has found a loophole that allows him to compete in elementary-school aged spelling bees, much to the disapproval of his young competitors and their parents.

With him he brings reporter Jenny Widgeon (Kathryn Hahn, “Parks and Recreation”), so desperate to find out Trilby’s motivation that she acts as his partner in non-crime. On his way to compete in the National Spelling Bee, Trilby meets his main competition— over-optimistic, enthusiastic 10-year-old Chaitanya Chopra (Rohan Chand, “Homeland”), who eventually wears down Bateman’s character with his desire for genuine friendship.

In some movies, very adult characters juxtaposed with the innocence of a child makes for plenty of opportunities for laughs (see “Little Miss Sunshine”), but Trilby’s begrudging corruption of Chopra doesn’t seem genuine.

In fact, the premise is almost too simple, to the point that the film begins to rely on cheap dialogue that doesn’t just border on offensive— it is downright offensive (Trilby refers to Chopra as “curry face”, etc.). Most of the jokes are so diluted with profanities that they lose their punch lines along the way.

Sometimes crude humor works, just look at “Superbad” or “Step Brothers.” The difference between these movies lie in their intentions— “Bad Words” is mean in spirit and words, trying to patch this with the friendship between Trilby and Chopra, but to no avail.

The problem with this film is not the lead’s acting. Bateman delivers all of his lines with a punch of anger and snarkiness (as is appropriate for his character). Hahn serves as a quality foil, being both moral and flawed by reason of her personal investment in Trilby’s story.

Chand, though admittedly adorable, gave off the impression of a young kid acting in his school’s Thanksgiving play, a little too obvious that the words he is saying are not his own but nonetheless smile-inducing. There are couple of cute cameos from Ben Falcone (“Bridesmaids”) and Allison Janney (“The West Wing”).

The problem with this film is not in Bateman’s directorial debut. Stylistically, “Bad Words” is actually relatively complex. It uses muted Wes Anderson-like palette full of browns and greens and an appropriately angry classic rock combined with classic hip-hop soundtrack.

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The problem with this film is that it is poorly written, as it opts for cheap laughs and juxtaposition-based jokes and a sympathetic yet deeply unlikeable protagonist, instead of story and character substance.

Couch Potatoes hosts Sara Winick and Sydney Hsu talk all thing teen dramas! The good, the bad, and the crazy. Listen along to hear what shows they discuss and what relationships will probably unravel as they do so.

Movie Review: Bad Words

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Bad words. That simple phrase tends to make you think of words that you normally shouldn’t use in everyday conversation. I guess you could say that I find the title a little misleading here. While watching this movie, I found that the actions of a few characters and their shady motives made me rethink my stance on the title. The characters in this film are pretty shady and have no qualms about sinking to great lows in order to win the contest that is the crux of the film. It starts with a guy named Guy.

Jason Bateman stars in Bad Words (and also directed it) as Guy,  a 40-something man who enters a prestigious spelling contest – “The National Quill Spelling Bee.” Honestly, the fact that a man goes to great lengths to participate in a contest that is meant for elementary school kids made me shake my head. I sat through this movie with a less than thrilled mood. But, I digress. Carry on! We find Guy had somehow, shall I say, academic troubles in the past that end up paying off for him, as he enters the first level of the spelling bee and quickly advances to the next round. Of course, there are arguments and confrontations and I just ended up wanting to slap Guy. For God’s sake, man! Act your age!!! Then again, that’s the whole point of this movie…..because he doesn’t act his age and he stoops to being shady with his competition. I guess the whole point to being shady and outsmarting your competition is to get the edge on them, no matter how low you go and what information you end up finding. After all, as Guy finds out, any information on your competition is better than nothing. This clip explains Guy quite easily. 

The director of the spelling bee, Dr. Bernice Deagan, (Allison Janney) is less than thrilled at seeing a grown man in a competition that is clearly meant for school aged children. She’s pretty stiff and attempts to thwart Guy, and the hapless journalist, Jenny, (Kathryn Hahn) who’s accompanying Guy during his travels.  I’m pretty sure that in a lot of these types of competitions there are plenty of backroom deals going on. You’re trying to outwit, outsmart and outlast your opponent – wait, wasn’t that the slogan for television’s Survivor reality show? You know the one where the tribe has spoken (something along those lines?)? Anyways, it applies because the Director tries to play her hand by fixing the word list in a weak attempt to get rid of Guy. And why not…..Guy gets the most challenging words and manages to spell them out with absolutely no issues. Talk about an unfair advantage, as an adult, your memory tends to be pretty good and you can practice spelling out words in front of people with increased confidence. Whereas when you’re a student, one of the most intimidating things to do is public speaking aspect of participating in spelling bees.

One contestant stands out the most: 10 year old Chatanya Chopra played by Rohan Chan.

Never mind that he is a student – this kid is in it to win it. He’s got a few strategies up his sleeve. Guy has his own personal motives for the whole scenario and it has to do with dealing with childhood abandonment at the hands of his father. Who just happens to be the founder of this spelling bee contest? Yup, the gloves are off and people end up doing and saying just about anything and everything to win and move ahead. Makes me shake my head, laugh and think that there’s no honor, there’s no satisfaction anymore in trying to do right by participating in a contest honestly. Integrity and honor are old school notions. They get you nowhere in this movie. Backstabbing, lying, eavesdropping and pulling the rug from under people gets you ahead – it’s a dirty business and everyone’s into it.

Eventually, the last two contestants end up being Chatanya and Guy – with hilarious and surprising results – which are recorded on live television. The final two try to outsmart each other, even deliberately making mistakes to the point where the fight during the final round. A surprising outcome and an unlikely friendship develop as a result of the spelling bee shenanigans. I wouldn’t exactly say that this is Oscar winner material, but if you like movies with a dry, dark sense of humor, with an off kilter sense of competition, then you might actually enjoy it. Maybe the trailer will help you decide to watch Bad Words when it premieres SATURDAY, OCTOBER 24 at 8:00pm. 

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This film sounds really, really weird and not in a good way!

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There are so many stories of environmental tragedy and historical malfeasance against the Indigenous people of this land, but we owe it to both this country’s past and future to listen to them all. Mary Mazzio ’s “Bad River” has some production elements that frustrated me, but it tells an important story, another call to think about not only the ancestors who made this land but also how we’re leaving it for future generations. Narrated by Quannah ChasingHorse and Ed Norton, and produced by a team of Indigenous creatives that includes Mato Wayuhi and Taylor Hensel of the amazing “Reservation Dogs,” “Bad River” is playing in theaters this weekend, a notable amplification of a noble message.

The Bad River Band or Bad River Tribe are a tribe of the Ojibwe people in part of northern Wisconsin along Lake Superior, one of the most vital bodies of water on the continent. Mazzio speeds through the history of the mistreatment of Native Americans from their representation in pop culture like “ The Searchers ” to their fights for sovereignty. The main thrust of her film centers on the Line 5 Pipeline, the property of a company called Enbridge that is basically found on Bad River land.

When an eroding pipeline is discovered, a battle ensues to remove it, but Mazzio’s approach isn’t merely to focus on this one case, using interviews with locals to sometimes try and tell too many stories at once. It’s admirable and totally understandable to want to raise awareness about the many issues facing these cultures in the 2020s and emphasize a return to tradition, but the film often drifts from the David-and-Goliath story that could have anchored it. It’s also heavy with sound bites from interviews and over-scored with near-constant music. There’s a remarkable scene late in the film in which the arc of the river is tracked like the arc of a life and I longed for more material like that—rich, specific, focused—and less that felt like a history lesson.

If it feels like Mazzio could have made an entire series out of the many issues at play in “Bad River,” it also feels a bit churlish to come down too hard on a film that’s using every minute of its chance to amplify important issues. It ultimately places the Line 5 Pipeline in a legacy that includes the Dawes Act, the disappearing of Native American children, and the Indian Relocation Act. “Bad River” gains a cumulative power in the way it consistently counters these tragedies with moving interviews with the proud, vibrant people who have refused to leave, illustrating the courage of resistance that takes place across generations. If it's sometimes like a movie that’s trying to tell a few too many stories at once, it’s hard to blame it. There are so many stories that need to be heard.

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Bad River (2024)

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Reader: Too Bad No One Wants to Run a Theater for Principle Instead of Profit

The first theater I went to after moving here in ‘98 and a staple for independent filmgoers in Denver. Booooo!

My family moved to the Alamo Placita neighborhood in 1959 when I was nine years old, and this was the closest theatre. I recall that The Shaggy Dog was the first movie playing there after our move. During my lifetime, it has undergone more than a few transformations back and forth between mainstream films, art films, independent films, cult classics, etc. My first date was in eighth grade when I invited a girl in the neighborhood to watch a Jerry Lewis film Saturday morning when they played the kiddie movies. (I loved the movie but the date was a disaster, we never spoke again.)

Everyone complaining about the theater’s closure, but how many of y’all actually bought tickets to support it? My wife and I went regularly, and it was regularly empty. Can’t say you support something in spirit and then be shocked that it couldn’t sustain itself. Typical modern behavior - say you care but then do nothing to show that care.

Too bad nobody wants to run a theater for principle instead of profit.

“How many people went to support the theater...” This is the problem with America. Imagine if they bulldozed the Coliseum because no one’s going to see the Roman gladiators. Granted, this theater isn’t as ancient — but America is erasing so much of its identity for the sake of profit, and all we’re gonna do is leave a future generation with nothing but parking lots and office spaces. Good things in life don’t generate a profit. That’s the problem with America.

Just what we need in Denver! The closure of another landmark for retail space! Wow! Where are the plans to tear it down and rebuild $2800 / month apartments to fight the housing crisis? This town sucks now.

 Historic preservation and registering as an historic place would be the right thing to do. SCFD should fund it as a film center for film students from a local college or university. Office space? Downtown is already a ghost town of empty commercial properties!

The Esquire Bar and Grill, dispensary and luxury residences? Sounds about right. We are a thirsty little town, aren't we? God help us.

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Best and Worst Moments From the 2024 Oscars

In a fairly even-keeled night, emotions still ran high, whether it was the rush of “I’m Just Ken” or heartfelt words from Rita Moreno to America Ferrera.

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By The New York Times

Fittingly for an Academy Awards celebrating 2023, the year of “Barbenheimer,” the movies that made up that phenomenon commanded our attention on Sunday night, too. None of it was a surprise, exactly — we knew Ryan Gosling was going to perform the song “I’m Just Ken,” from “Barbie.” And “Oppenheimer” had been the ceremony’s front-runner since awards season started last fall. Still, we weren’t prepared for just how much the ceremony, which for the most part ran smoothly, would get a boost from those twin blockbusters. Here are the highs and lows as we saw them.

Most Charming Performance: Ryan Gosling, ‘I’m Just Ken’

America’s No. 1 Ken, the “Barbie” star Ryan Gosling — who was also nominated for best supporting actor and presented a tribute to stunt performers with Emily Blunt — brought the house down with his performance of “I’m Just Ken,” one of two nominated “Barbie” songs. In a shimmering hot pink tuxedo, backed by some of his co-stars (Simu Liu, Kingsley Ben-Adir, Scott Evans, Ncuti Gatwa) and a bevy of handsome men in tuxes, he danced and sang his heart out.

Gosling roamed into the audience, getting Greta Gerwig, Margot Robbie, America Ferrera and Emma Stone briefly on mic. He was held aloft and spun as giant “Barbie” face cutouts twirled around him. The song’s co-writer and co-producer, Mark Ronson, played bass onstage; on guitar were Slash from Guns N’ Roses and Wolfgang Van Halen. All three had played on the original recording. If the Oscars wanted a viral video moment, they sure got it (even though it had been announced in advance). And Gosling remains the Hollywood man with perhaps the most range. — Alissa Wilkinson

Most Charmed Film: ‘Oppenheimer’

When “ Oppenheimer ,” Christopher Nolan’s hit drama about the man who helped create the atomic bomb, won best picture, the victory capped a huge night for the film: seven Oscars total, including awards for director (Nolan), actor (Cillian Murphy) and supporting actor (Robert Downey Jr.).

Released last summer to glowing reviews and a worldwide box-office total nearing $1 billion, “Oppenheimer” was considered the front-runner even before awards season began. Though some presumed favorites can’t sustain their momentum over several months, “Oppenheimer” never faltered, earning top prizes from the Golden Globes, Critics Choice Awards, BAFTAs and every major Hollywood guild along the way.

And why shouldn’t it have had a charmed run? When it comes to awards-season voters’ typical tastes, “Oppenheimer” could have been designed in an Oscar-friendly Los Alamos lab: It’s a period drama about a great historical figure, set against the backdrop of World War II, directed by a major Hollywood auteur. The cherry on top is that audiences responded to it, too: It’s now the third-highest-grossing film to win best picture, behind only “Titanic” and “The Lord of the Rings: Return of the King.” — Kyle Buchanan

Most Confident Host: Jimmy Kimmel

Jimmy Kimmel opened the Oscars with ingratiating self-deprecation (“Thank you for that partial standing ovation”) and closed with a nod to Hollywood as a union town. In between, he did just fine, delivering a broad, conversational set, full of safe roasts (a jab at Robert De Niro dating younger, a knock on the flop “Madame Web”), a crowd-pleasing cameo by a dog and a corny joke about Robert Downey Jr.’s pants. Nothing hilarious or daring. But it was a confident and clubby set, one you’d expect from a veteran host who had been there, done that. — Jason Zinoman

Biggest Surprise: Emma Stone Wins as Her Dress Tears

It was the stuff of an Oscar winner’s nightmare. As Emma Stone walked onstage to accept the best actress award for her turn in “ Poor Things ,” she motioned to the other best actress winners onstage, including her bestie Jennifer Lawrence, to help with her Louis Vuitton gown, which seemed to be ripping. Stone handled it with grace, joking, “Oh, boy. My dress is broken. I think it happened during ‘I’m Just Ken.’” After a speech in which she paid tribute to her director, Yorgos Lanthimos, and other colleagues, she told the crowd, “Don’t look at the back of my dress,” and turned to walk offstage, one hand over the noticeable rip. — Shivani Gonzalez

Wisest Choice for Presenters

This year’s ceremony brought back a setup that was last seen at the 2009 ceremony : Instead of one sole presenter, five past Oscar winners introduced each of the nominees in the acting categories. Let’s hope it sticks this time. While it meant we didn’t get clips of the actors, well, acting, it did mean we got heartfelt tributes that had some of the winners getting emotional before even taking the stage.

This was especially true in the first category of the night, supporting actress, where there were strong personal connections between the honorees and those who had triumphed earlier. Lupita Nyong’o, for instance, told the eventual winner, Da’Vine Joy Randolph: “Your performance is tribute to those who have helped others heal in spite of their own pain. It’s also a tribute to your grandmother, whose glasses you wore in the film. What an honor to see the world through her eyes and yours.” Randolph wiped tears from her face. Later, after Ben Kingsley spoke to the “humanity” in Cillian Murphy’s winning interpretation of J. Robert Oppenheimer, Murphy smiled and bit his lip, nodding with moved affection.

Then there was Robert Downey Jr. After winning his first Oscar on his third try for his portrayal of Lewis Strauss in “Oppenheimer,” he offered breezy, jocular remarks in which he variously thanked his “terrible childhood,” his stylist and a lawyer who he said spent years trying to get him insured. It all worked. — Esther Zuckerman and Matt Stevens

Most Moving Choice for a Presenter

Kudos to whoever came up with the brilliant idea of having Rita Moreno address America Ferrera (“Barbie”) during the presentation of the best supporting actress nominees. It gave Moreno the opportunity to sing “Ahh-meeeh-riii-ca,” a callback to the veteran Oscar winner’s legendary performance of the song of the same name from “West Side Story” (1961). But it was also a celebration, “from one woman to another,” of the powerful link across generations between two Latin artists who each created cinematic moments that have become cultural touchstones. — Mekado Murphy

Most Potentially Interesting Choice for a Host

When the comic John Mulaney took the stage to present the Oscar for best sound, I’d almost forgotten about another sound: that of an audience genuinely laughing instead of politely chuckling at jokes that would never hit otherwise. After a steady march of milquetoast bits that made even the host Jimmy Kimmel and hilarious actors like Melissa McCarthy seem meh, Mulaney managed to offer us a small taste of actual comedy — with quips about silent films and the 1989 Kevin Costner sports fantasy “Field of Dreams,” no less! It was a reminder that it is possible to deliver from the Oscars stage, and effortlessly at that. It wasn’t long before my colleagues were prepared to bet on when Mulaney might take the reins for the whole ceremony. As our movie critic Alissa Wilkinson put it, “I don’t root for Oscar winners, on principle, but I do root for one thing: John Mulaney to host the Oscars.” — Maya Salam

Most Political Moment, Part 1: Jonathan Glazer, ‘The Zone of Interest’

Unlike recent awards seasons when events like the war in Ukraine were fair game, little had been said at 2024 ceremonies about Israel and Hamas. One exception involved the creators of the Holocaust drama “The Zone of Interest.” At the BAFTAs last month, James Wilson, one of the film’s producers, brought up the war during an acceptance speech. At the Dolby Theater on Sunday, a few hours after demonstrations took place nearby , the film’s director was more pointed. Accepting the best international feature Oscar, Jonathan Glazer said: “Right now we stand here as men who refute their Jewishness and the Holocaust being hijacked, an occupation which has led to conflict for so many innocent people, whether the victims of October the 7th in Israel or the ongoing attack on Gaza, all the victims, this dehumanization, how do we resist?” — Stephanie Goodman

Most Political Moment, Part 2: Jimmy Kimmel vs. Donald Trump

Former President Donald J. Trump couldn’t help himself, Jimmy Kimmel couldn’t resist either, and so the Oscars closed on a political note . Kimmel used some of his final stage time as host to read a post published on Truth Social by Trump. (And yes, he really did post it.) “Has there ever been a worse host than Jimmy Kimmel at the Oscars,” Kimmel said, reading part of Trump’s missive. “His opening was that of a less than average person trying too hard to be something which he is not, and never can be,” Kimmel added. After asking the audience, “See if you can guess which former president just posted that?” Kimmel offered one final barb, expressing surprise that Trump had stayed up to watch the telecast: “Isn’t it past your jail time?” he said. — Matt Stevens

Best Win for a Director Who’s Retired (We Think)

The great animator and director Hayao Miyazaki was a ghostly presence at the ceremony, like one of the benevolent spirits he creates for his dazzling stories of grief, adventure and growing up. He and his fellow nominee, the producer Toshio Suzuki, were not there to accept the award for best animated feature for “ The Boy and the Heron ,” Miyazaki’s fairy tale about a Japanese boy making a journey to the underworld to reconcile himself to the wartime loss of his mother. Miyazaki won the same award in 2003 for “Spirited Away” and announced his retirement 10 years later; now 83, he has announced his retirement again, saying “The Boy and the Heron” will be his last movie. It would be particularly greedy to wish that he changes his mind once more, but here’s hoping. — Mike Hale

Best Jab at Hollywood

Accepting his Oscar for best adapted screenplay for “ American Fiction ,” the writer-director Cord Jefferson gave a rousing plea for more investment in movies with modest budgets, saying, “This is a risk-averse industry — I get it. But $200 million movies are also a risk, and it doesn’t always work out, but you take the risk anyway. And instead of making one $200 million movie, try making 20, $10 million movies.” It might have made some of the big-budget nominees in the room squirm, but it was a rare, refreshing Oscars moment when a winner used their platform to get candid with Hollywood instead of lavishing it with praise. — Julia Jacobs

Best Jabs on Behalf of ‘Barbenheimer’: Emily Blunt and Ryan Gosling

“I’m just happy that we can finally put this ‘Barbenheimer’ rivalry behind us,” Ryan Gosling told the “Oppenheimer” star Emily Blunt when they took the stage to extol the contributions of stunt performers. Last summer’s movie event was less of a competition and more of an unlikely but entertaining marriage of two radically different films. Hordes of moviegoers showing up in person buoyed the box office numbers for both movies, and “Barbenheimer” was said to be proof that the movie industry had finally bounced back post-pandemic. But if “Barbie” triumphed at the box office, it quickly became clear that “Oppenheimer” would be the awards favorite, and the Oscar stage proved an ideal setting for renewed combat:

Blunt: “The way this awards season turned out, it just wasn’t that much of a rivalry. Just let it go!” Gosling, explaining that the phrase wasn’t “Oppenbarbie”: “Barbie” was first because “you were riding ‘Barbie’s’ coattails all summer.” Blunt: “Thanks for Ken-splaining that to me.”

— Christopher Kuo

Boldest Fashion Trend: ‘Mermaidcore’

The red carpet wasn’t dominated by Old Hollywood glamour, as it typically is, but a newer trend some people refer to as “mermaidcore.” What that really means is sea-foam colors and piscine accents, mixed with some ethereal Botticelli “Birth of Venus” vibes. Look at the decadent fishlike scales on Anya Taylor-Joy’s dress, inspired by a 75-year-old Christian Dior design. Or the crisp mint gown worn by Emma Stone, reminiscent of seashells with its peplum top and jacquard fabric. Lupita Nyong’o wore a pale blue gown dripping in crystals and feathers. Da’Vine Joy Randolph also wore a pale blue gown with fringed oversize sleeves. The buttons on Bradley Cooper’s black double-breasted jacket were an oceanic turquoise blue. The embellishments on Florence Pugh’s silvery dress looked like juicy water droplets. (She also wore floating straps — another unexpected, and significantly more polarizing, trend .) — Jessica Testa

Sweetest Good Boy: Messi, the ‘Anatomy of a Fall’ Dog

There are few dogs who’ve been greeted with as rapturous a reception as Messi, the black-and-white Border collie who plays Snoop in the French courtroom thriller “Anatomy of a Fall.” The Dolby Theater erupted when he was spotted Sunday night in a plush seat, a big black bow tie around his neck — even if the shot was later revealed to have been recorded before the ceremony .

The academy had been toying with fans’ hearts all week. There were reports that Messi had been “banned” after some executives behind nominated films not named “Anatomy of a Fall” complained that his scene-stealing escapades at the Oscar nominees luncheon earlier in the year — including snuggling with Billie Eilish — had given the film an unfair advantage during Oscars voting. But when the camera panned to him during Jimmy Kimmel’s monologue in the opening minutes? Sorry, Jenny the donkey , there’s a new most-beloved mascot in town.

This, by the way, is a canine who knows how to pull off a grand finale: After “Oppenheimer” won best picture, the cameras cut to the Hollywood Walk of Fame outside the theater, where Messi lifted his leg over Matt Damon’s star and … well, that was it. This is a refined actor, after all! — Sarah Bahr

Barest Presentation/Worst Missed Opportunity: John Cena

When Kimmel reminded everyone of the streaker at the 1974 Oscars , it was a setup for the wrestler-actor John Cena to present the award for best costume design — in the buff but for a strategically placed winner-card envelope. “Costumes … they are so important,” Cena said to a huge laugh, before quick-changing into a toga and announcing “Poor Things” as the winner. But it was a true missed opportunity: Barry Keoghan, who was quick to strip down in “Saltburn,” should have been the presenter. — Barbara Chai

Quietest End to a Fairy-Tale Season: Lily Gladstone Loses Best Actress

Lily Gladstone was the first Native American nominated for best actress for her role as an Osage woman married to a white man involved in a murderous conspiracy in “Killers of the Flower Moon,” and she was riding high coming into the Oscars. She had taken home honors from the Golden Globes and the New York Film Critics Circle — delivering moving speeches, often with a few lines from the Blackfeet language — and her closest rival, Emma Stone, had reacted with what appeared to be genuine enthusiasm to Gladstone’s Screen Actors Guild Award win. So when the time came for the academy to seal the deal and give “Killers of the Flower Moon” its only win of the night, it … gave the statuette to Stone, her second win in seven years. Credit to Stone for delivering a gracious speech in a ripped dress — “I share this with you,” she told her fellow nominees. — Sarah Bahr

Oddest End to the Awards: Al Pacino Announces (Sorta) Best Picture

Al Pacino made for a somewhat befuddling and anticlimactic best-picture presenter. He shambolically walked us through his process of opening the envelope, explaining, “Here it comes,” to laughter from the crowd. “And my eyes see ‘Oppenheimer,’” he said. The cheers that usually accompany such an announcement were at first tentative, given Pacino’s lack of declaration. It was only once music started to play that it felt like we dodged a potential “Moonlight”-“La La Land” mixup. “Oppenheimer” was indeed the winner; it was only Pacino who wasn’t so sure. — Esther Zuckerman

Why should you not thank your publicist if you win an Oscar?

The idea, some think, is that publicists work behind the scenes to promote you, so they should be kept in the background. But the Oscars are the ultimate promotion, so I agree that if they helped get you there, they are worth a thank you.

How did the award get the nickname “Oscars”?

There’s some debate. Some say the statue reminded academy librarian Margaret Herrick of her uncle Oscar. Others say Bette Davis said its derriere reminded her of her second husband, Harmon Oscar Nelson. Hollywood gossip columnist Sidney Skolsky said he gave the nickname. It’s not, as far as we know, named for the Grouch.

What’s the deal with the floating straps trend seen on the red carpet?

The working theory is that the straps were a design accent that allowed the actresses (Emily Blunt and Florence Pugh, both representing “Oppenheimer”) to safely stand out — to inject just the right amount of strangeness and direction into their look, without verging too far into risk-taking, worst-dressed territory. The futuristic floating straps were polarizing, but memorable . And at the end of the day, the gowns you remember are the gowns that won the night.

Why aren’t stunts an Oscar category?

They should be! (In my opinion.) The Screen Actors Guild Awards honor the stunt people for film and TV already. But adding a category to the Oscars is a fraught process, and has been known to go haywire. (Anyone remember the “achievement in popular film” Oscar, which was introduced in 2018 and then scrapped a week later after an outcry?) Still, there is hope: There have reportedly been talks within the academy about a stunt Oscar.

How do they choose presenters? Some folks, besides past winners, seem random.

This is part previous winners, part actors who were in some of the nominated films and part publicists working overtime. A number of presenters have projects to promote, so it’s good for them to get face time on the show for those future (and current) releases.

Do the actors announcing the nominees write their own introductions?

They usually do not. Often, their intros are put together by the show’s writers, and the actors don’t get much time with the material, which is why some read the lines so awkwardly. The exception is usually with comedian presenters, like John Mulaney, who no doubt wrote his funny/oddball bit about “Field of Dreams” that he delivered when presenting the Oscar for best sound this year.

Our Coverage of the 2024 Oscars

The 96th academy awards were presented on march 10 in los angeles..

Our Critics’ Take: The Oscars were torn between the golden past and the thorny present. But to our critics Manohla Dargis and Alissa Wilkinson, the show mostly worked .

A ‘Just Ken’ Spectacle: In one of the most anticipated and exuberant moments of Oscar night , Ryan Gosling took the stage to perform “ I’m Just Ken ” from “Barbie.”

Cillian Murphy’s Career: If you’re looking to expand your knowledge of the Irish actor’s work after his now Oscar-winning performance  as the physicist J. Robert Oppenheimer, here are some excellent options .

Bro-Brooches: This year, several male stars wore baubles  more often associated with granny’s jewel box than Hollywood heartthrobs.

Inside the After Parties:  Here’s what we saw at the Governors Ball  and Vanity Fair’s party , where the famous (and the fame-adjacent) celebrated into the night.