The First Five Minutes of ‘Get Him to the Greek’


Being a musician is no doubt an appealing profession, however, it takes a certain amount of luck and skill (or in this generation’s case — a nice music video or idiotic yet somewhat captivating dance) to make it in the business. This explains why the majority of musicians are so egocentric, especially in the realm of rock n’ roll, where machismo runs rampant. But I personally have never wanted to become a professional musician and the idea of being dangerously drunk, doing illegal narcotics, or dealing with egomaniacal vocalists just never interested me.

However, it does appeal to Aldous Snow, the recently divorced front man of “Infant Sorrow,” a band whose long-lasting success is ultimately forgotten with the release of their latest album “African Child,” which is so bad that critics hail it as the third most damaging aspect of African culture, following war and famine. But this is how the latest Nicolas Stoller film, “Get Him to the Greek,” is set up.

The film, which is a spin-off to the excellent “Forgetting Sarah Marshall” (some characters are even referenced briefly), is sadly lacking in both the laughs and seriousness of “Sarah Marshall” and instead confuses sheer stupidity with humor.

Aside from Russell Brand, who plays Snow, Jonah Hill stars as Aaron Green, an intern at a record label, who suggests that a 10-year anniversary concert for Infant Sorrow be held, in order to revive the band’s dying career. Of course, Sergio Roma (Sean “P.Diddy” Combs), the label’s senior producer agrees to the idea and sends Green to escort the troubled rock-star, who recently fell off the wagon, to the Greek where the concert is being held. But nothing goes according to plan and mayhem ensues.

It seems like an intriguing premise on paper but the delivery is absolutely horrible. Most of the film involves the bland Green doing copious amounts of drugs and Snow running around and screaming. Both of these characters become one-dimensional as the film progresses. This is especially saddening for Brand’s character who was delightfully idiosyncratic in “Forgetting Sarah Marshall” but who is reduced to the cookie cutter example of a trouble rock-star in his latest outing.

The most laughs come from P. Diddy’s character, which is surprisingly well-acted. It’s a delight to see Combs’ metamorphosis into a comedic actor and his sarcastic attitude works well for Mr. Roma. However, in general, the laughs are much too few and in between. Even an unexpected cameo by Metallica’s drummer Lars Ulrich is ruined by an obvious Napster reference.

But what “Get Him to the Greek” has going for it is its soundtrack. There is a nice combination of rock classics, modern hits, and original content. Even the songs by Snow’s band are undeniably addicting and Brand shows impressive vocal talents in these songs. I won’t even hide the fact that I bought the official soundtrack the next day.

But if “Get Him to the Greek” compares to a rock concert, then watching it would be the massive headache that one gets after standing in the front row for too long.

But regardless of my personal disdain for the film, the following is the first five minutes of “Get Him to the Greek” in all its raunchiness (and stupidity).

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