'Todo Mundo em Pânico' tries to return to its origins with tired jokes about 'cancel culture'; g1 already seen

'Todo Mundo em Panico' hits the circuit on Thursday, the 4th, but has early screenings on June 3rd.
Disclosure
The sixth film of "Todo Mundo em Panico", one of the biggest horror-parody phenomena of the 2000s, premieres this Thursday (4) in Brazilian cinemas. being released only with the original title, without the number printed on the poster.
The release takes place 13 years after the previous chapter and marks the return of the Wayans brothers after more than two decades away.
The hiatus was caused by copyright disputes and creative differences with the brand's former co-producers, the brothers Bob and Harvey Weinstein - the latter, convicted of a series of crimes of sexual assault and harassment in Hollywood.
Marlon and Shawn join Anna Faris and Regina Hall, the eternal Cindy and Brenda, to recreate the original quartet that set the tone for the first two films in the series.
Precisely because of all this, the fans' expectations were not low. And it couldn't be. The franchise had the original cast in its hands and more than a decade of material to work with: new films, new debates, new terms and, above all, new controversies.
For the end of 'mimimi'
The Wayans are back in 'Scary World' to put an end to cancel culture.
Disclosure
The premise is as follows: the quartet tries to escape a masked killer also well known to the public, Ghostface, but setting a new goal, "to end with cancel culture".
The viewer, at this point in the championship, is already tired of knowing: to watch the film, you can't take yourself too seriously. After all, the franchise itself never took off.
And the new film makes a point of making this very clear, shamelessly saying in the mouth of one of the characters at the beginning of the plot: "It's not a socially conscious comedy made for white people to think and no one to laugh. It's for fun."
It's from this politically incorrect position that the Wayans brothers (who also wrote the script) try to draw a provocative dispute between the old guard and the new generation.
By focusing on generational dilemmas, it is as if the creators - who are now in their 50s - are returning to the spotlight to say: "Let us show you how it's done." attack, the script presents on the screen a compilation of almost everything that has hit the networks, in cinemas and in the news in recent times.
There's plenty of room for jokes involving gays on Grindr, the Kanye West of the New Testament, Covid-19, ChatGPT, the Jeffrey Epstein reports, the invasion of the US Capitol, the new generation of streamers and so on...
There are also direct references to dozens of other productions, such as "Wandinha", "Sinners", "K-Pop Warriors", the biopic "Michael", "Saltburn", "Run!" and more. Much more.
The big problem, however, is that when all of this is put together, in the format of a sequence of independent comedy sketches, the gears don't click.


We've heard this before
'Everybody in Panic' makes fun of remakes, sequels, requels, prequels, spin-ofs.
Disclosure
The fragmented structure becomes well-worn as the film progresses and, from the middle to the end, the situations always seem like variations of the same joke.
By insisting on criticizing the so-called "mimiimi generation" or, as the synopsis itself presents, "cancel culture", the humor goes skating on clichés that seem like a recycling of thousands of other jokes that the viewer has read before, scrolling through the X timeline, for example.
Topics such as the "machosphere", racial issues linked to quotas and the debate over neutral pronouns have already been excessively explored by dozens of other products, formats and comedians in recent years.
The problem here, and it is important to say, is not the topics covered. But the uncreative (and almost never funny) way in which they are treated.
A gift for ex-widowers
Scene from 'Scary Movie', the sixth film in the franchise that premieres this Thursday (4).
Disclosure
Interestingly, the best moments of the film happen precisely when the actors leave their fixation with this "new generation" aside and start making jokes about themselves and criticizing the film industry itself:
Ironizing the Oscar, playing with the career choices that each of the cast made in the period in which who were away and exposing the legal battle they fought behind the scenes to recover the rights to the brand.
Fortunately, the ending of the film also manages to regain some momentum by delivering an encouraging ending for fans, making it clear that the brothers have in fact regained creative control of the brand.
It's a nice gift for the now former widowers of the franchise.
But to be able to stretch the story into a possible sequel without falling into the commonplace and creative fatigue that compromise this sixth chapter, just jokes about the new generation's mimimi won't work.
Critical review card g1
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Source: G1

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