‘Family Switch Review: Jennifer Garners Netflix BodySwap Comedy Is Ideal Holiday Background Filler

The ideal family movie for holiday viewing is one that everyone can enjoy. It's compelling enough for everyone from disgruntled teenagers to grumpy grandparents to put aside their drama and join in on each other's amazement. Other than that, it might just be the second most perfect family movie that no one can hate. This is where Netflix's Family Pass is located.

The body-swapping comedy isn't so good because it's completely harmless. Its characters are drawn in broad strokes and its plot points develop with creaky predictability, but it's too sweet to bore or offend. If you're looking to fill a movie-sized gap in your vacation plans, this can make it pretty bearable.

Directed by McGee, the film focuses on the Walkers, a successful generation of upper-middle-class people. Mom Jess (Jennifer Garner) is an energetic architect about to become a partner in her big firm. Papa Bill (Ed Helms) is a rock musician, brutal band teacher. Seventeen-year-old Cee Sey (Emma Myers) is such a talented soccer player that she's focused on Team USA, and Wyatt (Brady Nunn) is so gifted in STEM that he's applying to college early. Ninth from Yale. - Qualification qualification

Despite all these blessings, they are surrounded by many typical generational conflicts. Type A Jess and obnoxious Cece argue over the latter's career plans. An outgoing Bill and a frustrated Wyatt have so little in common that Bill jokes that he's not Wyatt's real father. Obviously, it takes a miracle to resolve these seemingly minor disputes, and that's exactly what they are. Right before Jesse's big speech, Cece's big game, Wyatt's big college interview, and Bill's big performance with Dad or Alive (with Weezer as a bandmate), the Walkers switch bodies. Through some inexplicable magic that causes Rita to play games with the Uber driver. dark

It's supposed to be an enticing, high-stakes premise, but a family change makes her hopeful sensibilities clear long before anything mysterious happens. In the opening minutes of the film, Bill sticks part of his candy cane costume to a Christmas tree, falls into a pool of dog urine at his feet, and takes the entire tree with him as he falls. Despite Helms' special physique, there's something mechanical about all this nonsense. It feels more like an actual joke than a sketch, but it's enough of a mild laugh for kids who enjoy watching Ed Helms fall flat on his face, or easily amused adults. Either way, the film continues until the joke loses its appeal.

When the characters switch bodies, the joy of watching them switch places is somewhat dampened by a script (by Victoria Strauss and Adam Steikel) that doesn't give any of them much of a personality to begin with. The young leads, at least, have the advantage of emulating artists we're already familiar with, and Myers especially captures Garner's supermom vibe. In contrast, Garner and Helms are willing to do anything, including gagging, gagging, and puking, but all their enthusiasm can't hide the fact that Cee Cee and Wyatt are nothing more than stereotypical depressed teenagers and stereotypical demons.

I laughed out loud only twice in the 100 minutes of the movie. once referencing 13 Going on 30 , it provides a welcome sense of self-awareness from a film otherwise disinterested in trying something new with the formula. Along with multiple trips to the Griffith Observatory, go once during the highway debate, considered one of the most authentic moments in Angeleno history.

Needless to say, the characters surrounding the Walkers are no longer lovable. Many of these supporting roles are played by brilliant comedic talents like Paul Shearer, Pete Holmes and Josh Rockmore, but they struggle to make much of an impact in such one-dimensional roles. It's one of those movies where none of the supporting characters spend more time than the main characters need to, whether it's the bully (Cyrus Arnold) whose feelings for Wyatt seem misplaced. Out of nowhere or with nothing to do but convince her co-workers (Ilya Izorelis Paulino) that Jessie (actually Sissy) is a really amazing mom.

So it's no surprise that the emotional side of Family Switch isn't very strong either. Sometimes the script carefully hints at deep wounds. Jess's concern about CeCe's football ambitions stems from his failed athletic career and rumors among his students that Bill gave up the chance to be part of Green Day or Black Sabbath or any other black band to raise his son. . A bold film can express parents' uncertainty about what they're giving up. But this person is practically allergic to conflict and suffering, so they ignore these ideas in favor of soothing clichés about the rewards and joys of parenthood.

Paradoxically, this strong generosity causes the family to move less than it seems. It's hard to feel deeply for characters who are so flat and sweet that they could be gingerbread men solving problems that clearly don't exist. But that makes the film perfectly safe as background filler. There's nothing here that leads to difficult or painful conversations, or leads to unhappy endings, or makes viewers take sides because you just want to bend the last piece of tape or turn on the last string of lights. And when you no longer need it, there is nothing left to remember, good or bad.