"Help yourself to anything", the owners of a gorgeous suburban home tell complete strangers, forgetting to add, "But don't knock on the walls" where they find a ton of money. Just meeting the two party crashers who just happened to be driving by as one of their sisters was heading inside. "It's like Donald Trump threw up," one of the two says as they decide to feel momentarily rich, tossing large bills around until interrupted with the news that the home owners were killed while traveling. I guess you're supposed to root for the two gay guys because they are cute and in love and the sister and her husband are absolutely annoying, the sister in particularly as dumb as Space Mountain after closing.
The likable but often flighty Randy Harrison made the most of bad writing on "Queer as Folk", and if there is any consistency, he does the same here where at least his character doesn't change suddenly as Justin did on QAF. But are him and loving husband Michael Urie so naive to think that they could get away with breaking and entering, take the money and run to make love, and not find repercussions? With Harrison's obnoxious sister suspicious, local law enforcement and even organized crime involved, they are up the Los Angeles River without a baton. Their constant referral to their labor doodles as their babies reminded me with great distaste of Robert Morley obsessing over his pink poodles in "Theater of Blood".
Not one laugh hits as I struggled to find something positive to write. I've seen young Harrison on stage in several New York productions (in "Wicked" and "Harbor"), but unfamiliar with Urie, I wanted to find them believable. Their characters seem more early 20's in maturity than the mid '30s of the actors. Several gay cult performers have cameos in the duo's efforts to give the money to charity, yet the attempt at laughs just made me sneer. In addition to a plot that makes no sense, the paint by number stereotypes just further pulled it down. Practically every male character seems to have crawled out of West Hollywood's 24 Hr. Fitness rather than attending necessary acting classes, making me wonder if the person who got this off the ground simply went gym hopping or spent a weekend afternoon doing casting searches on Santa Monica Blvd's "Fun-day Sunday".
The likable but often flighty Randy Harrison made the most of bad writing on "Queer as Folk", and if there is any consistency, he does the same here where at least his character doesn't change suddenly as Justin did on QAF. But are him and loving husband Michael Urie so naive to think that they could get away with breaking and entering, take the money and run to make love, and not find repercussions? With Harrison's obnoxious sister suspicious, local law enforcement and even organized crime involved, they are up the Los Angeles River without a baton. Their constant referral to their labor doodles as their babies reminded me with great distaste of Robert Morley obsessing over his pink poodles in "Theater of Blood".
Not one laugh hits as I struggled to find something positive to write. I've seen young Harrison on stage in several New York productions (in "Wicked" and "Harbor"), but unfamiliar with Urie, I wanted to find them believable. Their characters seem more early 20's in maturity than the mid '30s of the actors. Several gay cult performers have cameos in the duo's efforts to give the money to charity, yet the attempt at laughs just made me sneer. In addition to a plot that makes no sense, the paint by number stereotypes just further pulled it down. Practically every male character seems to have crawled out of West Hollywood's 24 Hr. Fitness rather than attending necessary acting classes, making me wonder if the person who got this off the ground simply went gym hopping or spent a weekend afternoon doing casting searches on Santa Monica Blvd's "Fun-day Sunday".