A surprisingly regressive script hampers a film only marginally saved by its talented ensemble
Back in 2012, Pitch Perfect was a delightfully surprising release. Funny and heartfelt in equal measure, it brought together a diverse and talented ensemble who could deliver puns as well as the catchy musical numbers the film used to light up the screen. A sequel in 2015 successfully revisited that formula while scaling up the film with some playful globetrotting; and now, they look to bring the franchise to a close with a third entry, one that ends on more of a bum note rather than deserving a standing ovation.
Pitch Perfect 3 finds the Bellas having graduated from college, holding positions in fields as diverse as music production, veterinary school, or the service industry. Each find the real world to be far less satisfying than they expected, especially in light of their glory days winning the World Championships. Frustrated and looking to revisit old glories, they are presented with the chance to reunite and perform on a European USO tour. Joining a group of professional musicians, they find themselves in competition all over again, with the supporting acts all vying for selection by DJ Khaled to open for him on tour. Competition once again brings out the best and the worst amongst the team as they look to their past, unsatisfied with their present and possible futures.
The majority of Pitch Perfect fans will no doubt enjoy the film. It ticks the boxes, bringing back the characters, throwing in the quips, physical comedy, and polished musical numbers that so endeared the franchise to its audience. But these are all superficial ingredients, and there are issues with the film that run far deeper and fly in the face of much of the character development over the series.
Across two movies, there has been a championing of sisterhood, of teamwork, of these girls supporting each other (eventually at least). We’ve rooted for them and been moved by their struggles. All that is cast out with a clunker of a script from the returning Kay Cannon and series newcomer Mike White. The idea of having them struggle through adulthood, missing their glory days, is an interesting one, but it’s developed in such a way that it makes them seem very insulated from normality, portraying them in a rather blinkered light. While in previous outings you root for the Bellas, here they come across as self-entitled. The film fails to lean into the nuttier world they inhabit, a cold dose of reality isolating them in a bratty way the franchise has never done before. Their entitlement is encapsulated in a scene where the girls first encounter the rival bands joining them on tour, and in response to conflict, challenging them to a riff-off. While the bands eventually harmonize and deliver a enjoyable set together, collaborating and using their instruments, the Bellas stand on the sidelines pouting about how they’re not playing by the rules. They even state they’re “different and better than other bands” and sneer at their use of instruments. They sadly become unlikable. These issues are compounded by a number of sub-plots that weave in daddy issues, being besotted with boys, a documentary being filmed about them, and a kidnapping leading to a well staged but out of place action sequence. It’s a regressive jumble, lacking anything true to these characters or in the way of narrative cohesion.
The cast still sparkle though. Kendrick has an innate charm that shines though, and the rest have their little moments; it’s just a shame they’re saddled with such backwards writing and humor that embraces a new level of crudeness over wit. A rapper named Ben Dover and an all female rock group named “Evermoist” are as sophisticated as it gets. A standout, certainly not in a good way, is John Lithgow, whose take on a “Aussie geezer” is one of the weirder things I’ve seen on screen this year. The final act (and even the closing credits) do much to bring them the girls together and celebrate them, it’s just a shame the rest of the film fails to give respect to the journeys these girls have taken individually, and as a collective.
Pitch Perfect 3 is superficially entertaining, but beneath is a sad way to close out the series. It’s a disservice to the characters, ignoring the bonds of sisterhood and teamwork for regressive fare and bizarre, over-the-top story choices. Perhaps the only real use for Pitch Perfect 3 is in a DJ Khaled drinking game. Every time you hear his name, take a shot. You’ll be passed out halfway through.
Pitch Perfect 3 hits theaters on December 22nd.
