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Sprücheklopfer Seth, Schlaumeier Evan und Schussel Fogell (Jonah Hill, Michael Cera, Christopher Mintz-Plasse) haben als dicke Freunde ein gemeinsames Ziel: ein lebenslanges Dasein als Loser abzuwenden und noch vor ihrem Highschool-Abschluss an die Frau zu kommen. Der klitzekleine Haken an der Sache: Die Freaks mit den fiesen Frisuren und schlecht sitzenden Klamotten haben bei den Girls in Sachen Geschlechtsverkehr null Chancen. Umso größer ihre Verblüffung, als sie von Seths großem Schwarm Jules (Emma Stone) zu einer hippen In-Fete eingeladen werden. Schon bald erfahren sie den Grund: Das Trio wird mit der Aufgabe betraut, für den geplanten Absturz literweise Alkohol zu besorgen. Trotz einer chronischen Pechsträhne beim Erfüllen dieses Jobs versucht die Außenseiterclique alles, damit die Party nicht zur Pannenparade wird. Und die ersehnte Entjungferung endlich stattfindet. (Sky Cinema)

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Kritiken (7)

POMO 

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Deutsch Der wahrscheinlich beste Film aus der Produktion von Judd Apatow. Er ist ehrlich und treffend und stellt die Probleme der Teenager so gut dar, dass er das Publikum zu Tränen rührt. Eine verrückte Komödie über das Toben von jungen Typen, die mit ihren einfallsreichen Drehbuch-Schlingen und Dialogen manchmal für ein größeres Filmvergnügen als der geistreiche Coen-Humor sorgt. Von solchen Teenager-Komödien gibt es nicht viele. Ich möchte eine Fortsetzung! Ich möchte noch einmal Seth, Evan und Fogell sehen! :-) ()

MrHlad 

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Englisch It is not gratuitously vulgar, it is funny as hell and affably sensitive at the end. An excellent script that isn't afraid to go for the absurd at times, but mostly keeps it pretty real and believable. The film has well written and acted characters and it’s generally a terrible pleasure to watch. I'm looking forward to giving this one a second go. Much more entertaining than Knocked Up for me personally. ()

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DaViD´82 

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Englisch Superbad is neither super, nor completely bad. Bill (Jonah Hill) and Ben (Michael Cera) are nice guys. So much so that you end up willing them to get laid at last. But what good is that when the duo at the typewriter gives them such paper-rustling dialogs. They try so hard to be “obscene and natural about something important" like when Kevin Smith writes them, but they end up being obscene and about nothing. Just a little spiced up with a pop culture reference in every other sentence. But just for the sake of it, not because it fits. Another down point is the length. Not even the ending of The Return of the King drags on this long. This way a few really good scenes and ideas are drowned under a ton of filler. And not the flavored filler like you get at McDonald’s, but ordinary, flavorless filler from McLovin. P.S.: Any similarity with my review for Knocked Up is fully intentional. ()

Isherwood 

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Englisch This traditional loser story about the loss of virginity works for the first twenty minutes or so when Seth quite humorously comments on all the hardships brought on by his futile efforts to score. But as the minutes tick by, it becomes clear that not everyone is destined to pull off an entire film based on vulgar humor. Unfortunately, Greg Mottola is one of those. The film lacks Kevin Smith's hardened sensibility and is thus increasingly bogged down in dysfunctional absurdities (the cop duo) that, especially thanks to the incomprehensibly overlong runtime, are painfully boring. American Pie remains undefeated. ()

Othello 

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Englisch More than a decade on, Superbad has managed to become an important turning point in the moribund genre of teen comedies, whose target audience then started getting targeted by the grandiose Young Adult productions which more and more revised the dialogue (i.e. the cornerstone of teen comedies) into theses that could better reach teenagers confused about their role in the vast and ambivalent world opened up to them by the internet and, eventually, social networks in particular. Teen comedies continue to be made, but not for teenagers, only for those who grew up on them in the first decade of the new millennium and continue refusing to grow up, see Ted, Observe and Report, 22 Jump Street, Pineapple Express, etc. The last scene of Superbad, therefore, is essentially a symbolic farewell to a decade of comedies about the eternal sunshine of the spotless mind and the power of high school friendship. Along with the first installment of American Pie, it forms the zeitgeist of the world of American teenagers at that time: while in Pie we see a post-MTV society just getting used to the existence of the internet, but still resorting to the improvised physical stimuli of porno magazines or warm apple pie, Superbad chronicles adolescence just before the advent of social networking. Here, the actors are on the phone all the time, there are several jokes built around it (have you tried calling anyone under the age of 25 on the phone these days?), and in the end they have no way of resolving the situation except in person. And so simulating the ideal conditions for this will require a lot of dissembling and alcohol, ergo lots of fun when there’s a decent screenwriter on board, and Goldberg and Rogen were very much in form at the time. ___ Otherwise, personally, those of us who grew up around 2005, sharing cigarettes on park benches after school, figuring out whose parents were going away for the weekend and who had the money for booze, only to have no girls show up anyway so we'd end up just playing Dragon’s Den or Quake III all weekend, we generally tend to find the movie more credible. ___ Yeah, and those kind of objective pros: Jonah Hill is unreal, some of the piggish dialogue should be framed ("You know when you hear girls say ‘Ah man, I was so shit-faced last night, I shouldn't have fucked that guy?’ We could be that mistake!", "You don't want girls thinking you suck dick at fucking pussy.") and I'd go a long way for Emma Stone. ()

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