It moves and plays like a Pixar movie - sturdy storytelling mechanics with a message undercurrent - high on anything and everything, ready to impress and shock.īut even as its offensive, profane content never ceases, there's more than an undercurrent of implication and ideas in Sausage Party. There's a villain (literally a 'douche'), character-based conflict, elongated set pieces, and a continuous build to the hallucinatory climax of pornographic freedom and formal obscenity. Rather than aiming for gag after gag, joke after joke, an emphasis on environment and simple plot progression is solidified. In an expected twist, Sausage Party isn't funny in the same shape or form that an Anchorman or an episode of The Three Stooges is. A jar of peanut butter mourning the violent death of his precious grape (or was it raspberry?) jelly is hilarious in its extremity, but the film is comfortable enough to play it without detachment or ironic remove, becoming startling, even slightly moving in the process. As a comedy, it succeeds because of its willingness to go there, to transgress, past the point of comfort, and to find comedy in the absurd. Its images are macabre, disturbing if it wasn't for context but still remarkably grotesque. Unlike Toy Story (an obvious influence), its logic is soon thrown away for the sake of surrealism, comedy shifting into horror, disgust, terror, depravity. It just so happens to surround a filthy comedy framed as a smorgasbord product after product lined up across endless supermarket aisles, their colors splattering a rainbow of vibrant sights across the screen.Ībove all, Sausage Party is a real animated movie, designed and executed with charming detail, an eye for sharp sight gags, and a living, breathing vitality to its world. Arisen through bawdy gags and exquisite profanity but always prominent as its own entity, the evident but no less introspective message in Sausage Party on religion and tolerating its participants is one of eventual understanding and community. And everybody gets on the bad side of the villainous Douche (Nick Kroll), a women’s hygiene product with dudebro personality.Sausage Party - directed by Greg Tiernan and Conrad Vernon - has been marketed and proclaimed as a Hard-R/borderline NC-17 piece of vulgar animation (and it undoubtedly is), but what resonates is its slapstick thoughtfulness. (Edward Norton) to also learn the truth about their relationship to mankind. After getting separated from their friends, Frank and Brenda meet up with lesbian taco Teresa (Salma Hayek) and bickering breads Lavash (David Krumholtz) and Sammy Bagel Jr.
Salma Hayek gets fresh at 'Sausage Party' premiereĪ mishap in the frozen-foods section sends Frank’s squat buddy Barry (Michael Cera) and others into the wild to find out that a lot of sharp cutlery and brutal cooking methods await after the checkout lane. Frank (voiced by Rogen) and Brenda (Kristen Wiig) are a hot dog and bun respectively looking to finally get out of their packaging and hook up, though their belief system is shaken up when Honey Mustard (Danny McBride) returns to the store with an “End is nigh!” message for his fellow eloquent edibles.
It’s Fourth of July and the various characters in the aisles of Shopwell’s are waiting to be bought by humans and taken to “The Great Beyond” - a quasi-heavenly experience explained in an opening Alan Menken tune kicked off by a singing ear of corn. But Sausage Party is packed with surprising depth as it utilizes complete lunacy and clever bites to cobble together something wholly different in the cartoon space, even though at times the wacky film does itself a disservice by aiming for shocks rather than smarts. The dementedly original animated comedy (**½ out of four rated R in theaters Friday) is written by Superbad and Pineapple Express collaborators Seth Rogen and Evan Goldberg, so it's expected that politeness and good taste are thrown out in favor of crude humor and sex jokes.
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