Dude Where's My Car?...  | 
       
      
         
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        Director: Danny Leiner 
        Writer: Phillip Stark  
        Producers: B. Johnson, A. Kosove, W. Allan Rice  
        Actors: Ashton Kutcher as Jesse, Seann William Scott as Chester, Kristy
        Swanson as Christie Boner 
        Genre: Comedy 
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        PLOT: 
        The misadventures of a couple of idiot potheads. 
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            REVIEW: 
            Dude, this movie is made specifically for one type of audience: 15 to 25-year old male
            horndogs who enjoy getting wasted or stoned every now and again. Not many other people
            will "get" it. In fact, if you are not part of that target audience, I doubt
            that you will either enjoy or appreciate this movie's complete nuttiness. Mind you, I'm
            not part of that target group, but since those days weren't that far off for me (or are
            they still around?), the film's complete over-the-top goofiness worked for me just the
            same. The movie doesn't take itself seriously, it doesn't pretend to be about anything
            more than a couple of stoners running around and getting into strange and funny adventures
            and it features   | 
           
         
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            plenty of cleavage. Sound interesting to you? To many, it won't. To others, it
            will. Halfway through the relentlessly idiotic but   | 
           
          
            
              
                moderately entertaining teen comedy "Dude,
                Where's My Car?," you can almost imagine the film's director, megaphone in hand,
                screaming at the crew: "Bring on the dancing elephants!"  
                         
                Acting more like a demented ringmaster than a filmmaker, director Danny Leiner has, using
                a chaotic screenplay by Philip Stark, turned this picture into a pastiche of such
                psychedelic proportions that his continuous efforts to evoke laughter through the wackiest
                and silliest of situations begin to feel downright desperate. The movie begins with a
                simple enough "high concept": two pot-loving, ambition-free and sexually
                obsessed best buddies-roommates in their late   | 
                 
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            teens or early 20s (Ashton Kutcher and Seann William Scott of "American
            Pie") wake up one morning to find themselves in a surreal scenario and realize that
            they have no recollection of the events of the last 12 hours.  
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                Soon enough, the two find out that their car has
                disappeared. And through an angry phone call, they also learn that the previous night
                involved thoroughly trashing their girlfriends' home. The pair's objective, then, is to
                find out exactly what happened during this intense night of partying, and to get hold of
                their car so that they can visit their girlfriends, offer them anniversary presents and
                get some much coveted" special treats" in return. Such an absurd crusade, which
                takes place in the average American city where the protagonists live, would be easy enough
                if it weren't for the Fellini-esque cast of characters they encounter 
                along the way: a transsexual stripper demanding a suitcase full of money that our heroes
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            borrowed from him/her; a wannabe Zen master and his stoned dog; a gang of
            neighborhood bullies; a bunch of alien invaders from another planet; and a herd of wild
            ostriches.  
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            "Dude, Where's My Car?" leaves you with a reassuring view of today's
            adolescents. Sure, the film's protagonists have the attention span of a mouse and inhabit
            an ultimately sad universe devoid of commodities such as books, high aspirations, or, more
            important, a sense of purpose.  
               
            But even during those politically incorrect moments when the picture finds laughter at the
            expense of blind children or homosexuals, there's a benign, peace-loving air about it all
            that forces you to accept and embrace the film's two central characters. Just as in
            "Wayne's World," a film that is clearly a constant point of reference here, the
            core of the story has less to do with the loosely connected scenes at hand than with the
            undying friendship that motivates these two wide-eyed characters. 
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