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Movie 43
Theatrical release poster
Directed by
Written by
  • Steve Baker
  • Ricky Blitt
  • Will Carlough
  • Tobias Carlson
  • Jacob Fleisher
  • Patrik Forsberg
  • Will Graham
  • James Gunn
  • Claes Kjellstrom
  • Jack Kukoda
  • Bob Odenkirk
  • Bill O'Malley
  • Matthew Alec Portenoy
  • Greg Pritikin
  • Rocky Russo
  • Olle Sarri
  • Elizabeth Wright Shapiro
  • Jeremy Sosenko
  • Jonathan van Tulleken
  • Jonas Wittenmark
Produced by
Starring
Cinematography
Edited by
Music by
Production
companies
Distributed byRelativity Media
Release date
  • January 25, 2013 (2013-01-25)
Running time
94 minutes
CountryUnited States
LanguageEnglish
Budget$6 million[1]
Box office$32.4 million[1]

Movie 43 is a 2013 American anthology comedy film conceived by producer Charles B. Wessler. Featuring fourteen different storylines, each by a different director, including Elizabeth Banks, Steven Brill, Steve Carr, Rusty Cundieff, James Duffy, Griffin Dunne, Patrik Forsberg, James Gunn, Bob Odenkirk, Brett Ratner, Will Graham, and Jonathan van Tulleken; the film stars an ensemble cast led by Banks, Kristen Bell, Halle Berry, Leslie Bibb, Kate Bosworth, Gerard Butler, Josh Duhamel, Anna Faris, Richard Gere, Terrence Howard, Hugh Jackman, Johnny Knoxville, Justin Long, Christopher Mintz-Plasse, Chloë Grace Moretz, Liev Schreiber, Seann William Scott, Emma Stone, Jason Sudeikis, Uma Thurman, Naomi Watts, and Kate Winslet.

The project took almost a decade to get into production, and was eventually picked up by Relativity Media for $6 million. Filming took place over a period of several years, as casting also proved to be a challenge. Some, including George Clooney, declined to participate, while others, such as Gere, attempted to get out of the project.

Released on January 25, 2013, after having been originally slated for release on April 13, 2012,[2] Movie 43 was panned by critics, although it was a modest commercial success, grossing $32.4 million against a budget of $6 million. Considered one of the worst films of all time, the film received three awards at the 34th Golden Raspberry Awards, including Worst Picture.[3]

Plot

[edit]

Movie 43 is a series of different, interconnected short films and sketches containing different scenes and scenarios about a washed-up producer as he pitches insane story lines featuring some of the biggest stars in Hollywood.

The Pitch

[edit]
  • Produced and directed by Peter Farrelly and written by Rocky Russo, Jeremy Sosenko, and Ricky Blitt

The film is composed of multiple comedy shorts presented through an overarching segment titled "The Pitch", in which Charlie Wessler, a mad screenwriter, is attempting to pitch a script to film executive Griffin Schraeder.

After revealing several of the stories in his script, Wessler becomes agitated when Schraeder dismisses his outrageous ideas, and he pulls a gun on him and forces him to listen to multiple other stories before making Schraeder consult his manager, Bob Mone, to purchase the film.

When they do so, Mone's condescending, humiliating attitude toward Schraeder angers him to the point that, after agreeing to make the film "the biggest film since Howard the Duck", he confronts Mone in the parking lot with a gun and tries to make him perform fellatio on the security guard (Wessler had gotten on the lot by doing the same thing) and kill him if he does not make the film.

Wessler tries to calm Schraeder down with more story ideas to no avail, but Mone pulls out a gun and shoots Schraeder to death. As the segment ends, it is revealed that it is being shot by a camera crew as part of the movie, leading into the final segments.

Cast

Alternative version (The Thread)

[edit]
  • Directed by Steven Brill and written by Rocky Russo and Jeremy Sosenko

In some countries, like the United Kingdom and the Netherlands, the structure differs. Instead of a pitch, the films are connected by a group of three teenagers searching for the most banned film in the world, Movie 43, which will ultimately lead to the destruction of civilization.[4] Calvin Cutler and his friend J. J. make a video in the style of MTV's Jackass and upload it on YouTube where it instantly reaches over 1,000,000 views. This turns out to be an April Fool's prank from Calvin's younger brother Baxter, who cloned YouTube and hyper-inflated the views while working on his science project.

Calvin and J.J. attempt to get revenge by telling Baxter of a film that's so dangerous it will cause the annihilation of the world. The movie is known as Movie 43. While J.J. and Baxter look for Movie 43 on a Google stand-in, Calvin retrieves Baxter's laptop and loads it with viruses from porn sites, and masturbates to a strip tease video on the porn sites in a bathroom. Baxter finds hundreds of results for Movie 43 on a website referred to by him as a dark corner of the Internet. They find the sketches starting from the 43rd search on the list of results.

As Baxter and J.J. keep watching videos, they are interrupted by Vrankovich and a group of Chinese mobsters wanting to find Movie 43, going so far as to take J.J.'s classmate Stevie Schraeder, film executive Griffin Schraeder's oldest son, hostage. Vrankovich warns them that if they find Movie 43, civilization will be destroyed. They ignore his claims and keep searching, eventually finding the real, Movie 43, which turns out to be from the future, and which shows Baxter as a profane commando, leading a group of recruits to survive after the world has ended.

As Calvin finishes ruining Baxter's laptop, their mother enters, wearing the same shirt and shorts that the woman in the strip tease video wore, causing Calvin to have a mental breakdown, realizing he masturbated to a video of his mother. Afterward, a deadly earthquake rumbles and mankind is lost. However, a few years later the only survivor, a crippled Calvin, finds Baxter's laptop still working despite the viruses. He watches the last remaining skits on the laptop.

This version of the film was released in the U.S. as part of the Blu-ray Disc of Movie 43 as an unrated alternate cut of the film, and it is the only version of the film streaming on Amazon Prime in the U.S.

Cast
  • Mark L. Young as Calvin Cutler
  • Adam Cagley as J.J.
  • Devin Eash as Baxter Cutler
  • Fisher Stevens as Vrankovich / Minotaur
  • Tim Chou as Chinese Gangster #1
  • James Hsu as Chinese Gangster #2
  • Nate Hartley as Stevie Schraeder
  • Liz Carey as Sitara
  • Beth Littleford as Mrs. Cutler

Segments

[edit]

The Catch

[edit]
  • Produced and directed by Peter Farrelly, written by Bill O'Malley, Rocky Russo, and Jeremy Sosenko

Single businesswoman Beth goes on a blind date with Davis, the city's most eligible bachelor. When they arrive together at a restaurant, Beth is shocked when he removes his scarf, revealing a pair of testicles dangling from his neck. Over dinner, it confuses her that he fails to acknowledge his anatomical abnormality, and nobody seems to be surprised by it. When two friends of Davis come by, one of them convinces him to give Beth a kiss. Davis agrees, but when he kisses her on the forehead, his neck testicles are dangling near Beth's mouth, causing her to scream and break off the kiss.

Cast

Homeschooled

[edit]
  • Directed by Will Graham, written by Will Graham & Jack Kukoda

Recently moved in, Sean and Clare have coffee with their new neighbors, Robert and Samantha who have a teenage son, Kevin, whom they home-school. They begin inquiring about the homeschooling, and Robert and Samantha describe how they replicated a full high school experience, going as far as hazing, bullying, ostracizing, and giving out detentions.

To make the experience as awkward as possible, like "real high school," they threw parties that excluded Kevin, Samantha instigated Kevin's "first kiss" and Robert revealed romantic feelings for Kevin. Visibly disturbed, the neighbors end up meeting Kevin, who says he is going out and gives them the impression that all is fine: until he reveals a doll made of a mop with Samantha's face on it, referring to the doll as his girlfriend.

Cast

The Proposition

[edit]
  • Directed by Steve Carr, written by Rocky Russo & Jeremy Sosenko

Julie and Doug have been in a relationship for a year. When he attempts to propose, she reveals that she is a coprophiliac, asking him to defecate on her in the bedroom. Urged by his best friend Larry and others to go along with it, he eats a large meal and drinks a bottle of laxative prior to the event.

Wanting foreplay, Julie is angered when Doug wants to finish, and she runs into the street. Chasing after her, he is then hit by a car and graphically evacuates his bowels everywhere. She cradles him and apologizes; covered and surrounded by his excrement on the road, she exclaims that it is the "most beautiful thing" she has ever seen and accepts his marriage proposal.

Cast

Veronica

[edit]

Neil is working the night shift at a local grocery store when his ex-girlfriend Veronica comes through his line and they begin arguing. Soon it turns into sexual discussion and flirtation as they lament over their relationship. Unbeknownst to them, Neil's intercom microphone broadcasts the entire explicit conversation throughout the store, where various elderly people and vagrants tune in. After she leaves in tears, the customers agree to cover his shift while he goes after her.

Cast

iBabe

[edit]
  • Directed by Steven Brill, written by Claes Kjellstrom & Jonas Wittenmark & Tobias Carlson and Rocky Russo & Jeremy Sosenko

A developing company is having a meeting in their headquarters over their newly released product, the "iBabe", a life-sized, realistic replica of a nude woman which functions as an MP3 player. The boss listens to his various workers argue over the placement of a fan that was built into the genital region of the iBabe, which is cutting off the penises of teenage boys who attempt to have sex with them. The board members then agree to strongly emphasize the dangers of the product via its new commercials.

Cast

Super Hero Speed Dating

[edit]
  • Co-edited and directed by James Duffy and written by Will Carlough

Robin and his cohort Batman are in Gotham City at a speed dating event seeking out a bomb threat by their nemesis Penguin. While Robin attempts to connect with various women through speed dating including Stacey, Lois Lane, and Supergirl, Batman encounters his ex Wonder Woman and attempts to stop Penguin from detonating Supergirl, who later turns out to be the Riddler in disguise, which Batman already knew and was screwing with Robin, who kissed "her" moments before Batman exposed the Riddler's ruse. Lois Lane tells Robin on their speed date that six months ago she broke up with Superman, who turns out to be a stalker/sexual predator by ejaculating on her bedroom window. Further playing with the popular discussion of Superman's sperm, like in the film Mallrats, Lois Lane reveals that he uses his semen as a hair gel to keep the spit curl consistent.

Cast

Machine Kids

[edit]
  • Written, co-edited, and directed by Jonathan van Tulleken

A faux-Public service announcement about children stuck in machines and how adults' criticism of these particular machines affects the feelings of the children stuck inside them. This commercial was paid for by the "Society for the Prevention of Cruelty to Children Inside Machines".

Middle School Date

[edit]

Nathan and Amanda are watching television after school at his house as their first "middle school" date. When they begin to kiss, his older brother Mikey enters the living room and makes fun of them. Amanda then discovers she is menstruating and tries to hide it. When Nathan sees blood on her pants, he panics and believes her to be bleeding to death. He causes a debacle, later including Nathan and Mikey's father Steve and Amanda's father.

Amanda calls them out on their stupidity, embarrassed to know that she's getting her first period in front of them and they don't know what to do about it. When she leaves with her father, Nathan yells that the process of keeping the lining of her internal organs intact by inserting his erect phallus into her vagina is much too complicated and Mikey agrees. Steve cheers them up by farting in front of them. As Mikey goes to the bathroom, Nathan and Steve watch a game on television, which has a very graphic Tampax commercial in which a girl gets eaten by a shark due to her menstruating.

Cast

Happy Birthday

[edit]

Pete captures a leprechaun for his roommate, Brian, as a birthday present. Tying the leprechaun up in the basement, they demand he gives them a pot of gold. The obscene leprechaun threatens that his brother is coming to save him. When he arrives, Brian and Pete are shot at but ultimately kill both leprechauns. At the end of the segment, Pete reveals he has also caught a fairy who performs fellatio for gold coins.

Cast

Truth or Dare

[edit]
  • Produced and directed by Peter Farrelly, written by Greg Pritikin

Donald and Emily are on a date together at a Mexican restaurant. Tired of typical first dates, Emily challenges Donald to a game of truth or dare. She dares him to grab a man's buttocks, and he follows by daring her to blow out the birthday candles on a blind boy's cake. The game rapidly escalates to extremes, in which both of them get plastic surgery and obscene tattoos, continuing to humiliate themselves.

When Donald and Emily arrive back at Emily's apartment, they praise their date. Donald tries to kiss her, but she rejects him, claiming she's not attracted to Asian men (which he was surgically altered to resemble). However, she calls him back to her, admitting she was joking and invites him to have sex with her as she flaunts her newly enlarged breasts.

Cast

Victory's Glory

[edit]

Set in 1959, Coach Jackson is lecturing his all-black basketball team before their first game against an all-white team. Worried about losing the game, the timid players are lectured by the coach about their superiority in the sport over their white counterparts, which he expresses vulgarly. When the game ensues, the all-white team loses miserably yet rejoices in a single point they earn.

Cast

Beezel

[edit]

Played mid-credits, Amy worries that her boyfriend Anson's animated cat Beezel is coming between them. Beezel seems to detest Amy and anyone who comes between him and Anson, but he only sees Beezel as innocent. One day, Amy witnesses Beezel masturbating to summer vacation photos of Anson in a swimsuit. He attacks and violently urinates on her.

Anson still finds his pet innocent but Amy threatens to leave if he doesn't get rid of Beezel. Caring more about his relationship, he agrees to find a new home for him. That night, from a closet, Beezel tearfully watches the couple make love (whilst sodomizing himself with a hairbrush and dry humping a stuffed teddy bear).

The next day when it comes time to take Beezel away, he is nowhere to be found. Amy goes outside to look. Beezel then runs her over with a truck and attempts to kill her with a shotgun, but she chases him into the street and begins beating him with a shovel, which is witnessed by a group of children attending a birthday party at a neighboring house.

When Anson approaches to see what is happening, Amy tries to explain Beezel's motives. He acts innocent and Anson sides with his cat. The children of the party then attack and murder Amy for beating up Beezel, stabbing her with plastic forks. Anson grabs him, as Beezel again fantasizes about French kissing his owner.

Cast

Find Our Daughter

[edit]

In this deleted segment, Maude and George are looking for their breast-flashing daughter Susie with the help of a private eye, who is behind the camera with only one clue, a small video that features their daughter. The scene was included as an extra on the DVD and Blu-ray release.

Cast

The Apprentice

[edit]
  • Written and directed by Steve Baker and Damon Escott

The second deleted segment follows a shy apprentice mortician named Wayne, who is secretly a necrophiliac. One night, a body he's having sex with is brought back to life from the pressure of his thrusts. His supervisor Bob suddenly walks in and believes Wayne has performed a life-saving operation of some kind. The staff at the hospital and the media congratulate him while a news reporter asks what he did to save her.

Unable to conjure an answer, one of the cops on scene tells everyone else they can just watch the security tapes to find out. As they rush to the security room, Wayne is given a personal thanks by the girl he revived, upon which he responds with an awkward "You're welcome".[5][6][7] Unlike Find Our Daughter, this segment was not included in the home release,[8] and instead premiered at the 2014 LA Comedy Festival.[9]

Cast

Production

[edit]

Development

[edit]

Charles B. Wessler first came up with the idea for an outrageous comedy made up of several short films in the early 2000s. "It's like Funny or Die, only if you could go crazy," judged Farrelly, "because with Funny or Die, there are certain limits. And we just wanted to do that kind of short and go much further than that." Charlie Wessler affirmed that he "wanted to make a Kentucky Fried Movie for the modern age".[10]

Wessler then recruited three pairs of directors—Trey Parker and Matt Stone, Peter and Bobby Farrelly, and David and Jerry Zucker—to sign on to write and direct one-third of the project each. He then began working out a deal with a studio for the project, but the project did not stick. "They ended up calling me about a month after we started negotiating the deal and said 'we can't do it' because they had political pressure to not make R-rated movies that were marketed to teenagers," claimed Wessler. He then went to multiple other studios, but, according to Wessler, "no one could understand what I was trying to do".[10]

In 2009, Peter Farrelly and producer John Penotti took their pitch—along with about 60 scripts for the vignettes—to Relativity Media. At that meeting, Wessler, Penotti, and Farrelly presented one short that they already had shot, starring Kate Winslet as a woman going on a blind date with a seemingly successful and handsome Hugh Jackman. "They just looked at me and said, 'Go for it,'" Wessler told The Hollywood Reporter. "It takes a lot of balls to make something that is not conventional." Relativity provided $6 million for the film, but no other studio would sign on. "Other potential backers", Farrelly revealed, "didn't believe it could happen—a movie with Kate Winslet for $6 million?"[10]

The film officially began principal photography in March 2010, but due to its large cast, producer/director Farrelly told Entertainment Weekly that "This movie was made over four years, and they just had to wait for a year or two years for different actors. They would shoot for a week, and shut down for several months. Same thing with the directors. It was the type of movie you could come back to." Shortly before shooting, writers Parker, Stone, and the Zuckers backed out.[11]

The film ended up with thirteen directors and nineteen writers tied to it, each one co-writing and directing different segments of the sixteen different storylines.[12] Farrelly directed the parts of the movie with Halle Berry and Kate Winslet.[10][11][13]

Casting and filming

[edit]

Wessler spent years recruiting actors for the film. Many turned down the project. "Most agents would avoid me because they knew what I wanted to do—what agent wants to book their big client in a no pay, $800-a-day, two-day shoot?" he said. "The truth is, I had a lot of friends who were in this movie. And if they didn't say yes, this movie wouldn't have gotten made." In the end, most of the actors were willing to take part because the film only required a few days of their time and often allowed them to play a character outside of their wheelhouse.[10]

Hugh Jackman was the first actor Wessler cast. He met the star at a wedding and then called him sometime later and pitched him the short. Jackman read the script and agreed to be a part of the film. "He called me back I think 24 hours later and said, 'Yeah I wanna do this,' which I think is, quite frankly, incredibly ballsy. Because you could be made a fool of, or you could look silly, and there will be people who say, 'That's crazy; he should never have done it.'"[10]

After talking to the multiple agents of Kate Winslet, she eventually agreed to take part. The Winslet-Jackman sketch was shot shortly after and became the reel to attract other A-list stars.[10]

John Hodgman, who plays opposite Justin Long in one sketch, signed on with no knowledge of the project. Long, Hodgman's co-star in the long-running Get a Mac series of Apple commercials, asked him to do the project, and he then signed on, without still knowing too much. Hodgman said, "I got an e-mail from Justin that said, 'I'm going to be dressing up as Robin again. Do you want to dress up as the Penguin?' And I said yes. Without even realizing cameras would be involved, or that it would be a movie."[10]

James Gunn revealed during a Facebook Q&A that he was convinced to do the film by Elizabeth Banks and to "blame her" for it. He added, "I didn't even get to edit that stupid thing!" He also has never seen the film.[14]

Richard Gere, a friend of Wessler's, agreed to appear in the film, but said that he would not be available for over a year. Gere later contacted Wessler, saying he was available to shoot the film, but on the condition that they do it in four days and relocate the shoot from Los Angeles to New York City.[10]

"They clearly wanted out!" judged Farrelly. "But we wouldn't let them. The strategy was simple: Wait for them. Shoot when they want to shoot. Guilt them to death."[15] Colin Farrell initially agreed to be in the Butler leprechaun sketch—as Butler's brother, also a leprechaun—but then he backed out and Gerard Butler did the sketch by himself. Farrelly said that when he approached George Clooney about playing himself in a sketch (the gag was that Clooney is bad at picking up women), Clooney told him "No fucking way."[10] There were two sketches cut from the film that were originally shown during a test screening; one that starred Anton Yelchin as a necrophiliac mortician who worked at a hospital and had sex with the dead female bodies, and another starring Julianne Moore and Tony Shalhoub as a married couple being interviewed by a detective about their missing daughter.[16] Producer Penotti said that the sketches would be seen on the DVD and Blu-ray Disc releases of the film,[10] however only the latter was included in the release.[8]

Because the filmmakers worked around the stars' schedules, the filming of the whole movie took several years. While so many A-list actors were on board, most were not completely aware of what other sketches would be included in the film, which features thirteen vignettes tied together by a story of a mad screenwriter (Quaid) pitching ideas to a movie producer (Kinnear). Penotti said many of the actors did not ask many questions about what else was going on in the film. "They were attracted to their script, and as long as that tickled their funnybone, that was enough," he revealed.[10][13]

Promotion

[edit]

The title of the film, Movie 43 has no meaning. Farrelly heard his son talking with friends about a film called "Movie 43", but when Farrelly discovered the film did not exist, he cribbed the name.[10]

Relativity did little to promote the film and none of the cast members did any promotion of the film. The film was not screened for critics in advance. "The slapdash title, the lack of promotion and advance screenings, the release date—none of it bodes well," opined Entertainment Weekly senior editor Thom Geier. "January is usually where movies go to die," Geier argued. "And to go by the trailer—the only option—the content seems dated." A red-band trailer was released on October 3, 2012.[17] Farrelly was optimistic: "Kids, teenagers, 50-somethings who still smoke pot—they're all going to find something here," he asserted.[10]

Reception

[edit]

Critical response

[edit]

Movie 43 was universally panned by critics, with some considering it to be one of the worst films ever made.[18] On the review aggregator website Rotten Tomatoes, 5% of 87 critics' reviews are positive, with an average rating of 2.7/10. The website's consensus reads: "A star-studded turkey, Movie 43 is loaded with gleefully offensive and often scatological gags, but it's largely bereft of laughs."[19] Metacritic, which uses a weighted average, assigned the film a score of 18 out of 100, based on 23 critics, indicating "overwhelming dislike".[20] Audiences surveyed by CinemaScore gave the film a D rating.[21]

Brian Gibson (Vue Weekly) describes Movie 43 as "An execrable waste cooked up by a hell's kitchen of directors and writers. It's death-of-laughter by committee. Its title? Because it's like one of those many asteroids out there—a dismal chunk of rock hurtling through an empty void, without purpose."[22] IGN's Gregg Katzman gave the film a 1/10, with the main criticisms being its unfunny jokes and the waste of its all-star cast, with the only positive being its sub two hour running time.[23] It would go on to tie with Scary Movie 5 for IGN's worst movie of 2013.[24] In his guest review for Roger Ebert's website, Richard Roeper of the Chicago Sun-Times outright panned the film, giving it zero out of four stars, calling it "aggressively tasteless", and going so far as to say "Movie 43 is the Citizen Kane of awful". He wrote that the film has nothing in common with The Groove Tube and The Kentucky Fried Movie, two "very funny and influential" sketch-comedy films. He additionally criticized Movie 43 for what he calls "female humiliation", saying that although the men are "jerks, idiots, dolts and fools", the women have it even worse.[25] Robbie Collin of The Daily Telegraph gave the film 1/5 stars, describing it as "the work of a confused man thrashing around in an industry he no longer understands".[26] Peter Howell of the Toronto Star gave the film zero out of four stars and called it the worst film he had ever seen.[27] Elizabeth Weitzman of the New York Daily News gave it a negative review, saying, "As a film critic, I've seen nearly 4,000 movies over the last fifteen years. Right now, I can't think of one worse than Movie 43."[28]

In one of the few positive reviews, Michael O'Sullivan of The Washington Post gave the film three and a half out of four stars, calling it "a near masterpiece of tastelessness".[29] Alonso Duralde of TheWrap said that the film was "gross, juvenile, disgusting, scatological, vile, reprehensible and in the worst possible taste. But heaven help me, I laughed."[30]

Box office

[edit]

Movie 43 was predicted to debut to less than $10 million, with the studio expecting $8–9 million.[31] It took in $1,810,561 on its opening Friday, far below expectations.[32]

The opening weekend total came to $4,805,878, opening in seventh place. At the end of its run, closing in the United States on March 14, 2013, the film had grossed $8,840,453 domestically and $23,598,535 internationally for a worldwide total of $32,438,988.[1]

Relativity stated that they had already covered all costs with international pre-sales deals and a deal with Netflix.[21]

Awards and nominations

[edit]

Year Association Category Nominee(s) Result Ref.
2013 Golden Trailer Awards Trashiest Trailer "Unsee it" trailer Nominated [33]
2014 Golden Raspberry Awards Worst Picture All the filmmakers Won [34]
Worst Director The 10 of 13 directors Won
Worst Actress Halle Berry (also for The Call) Nominated
Naomi Watts (also for Diana) Nominated
Worst Screenplay All the screenwriters Won
Worst Screen Combo The entire cast Nominated

Home media

[edit]

Movie 43 was released on DVD and Blu-ray on June 18, 2013.[35]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Movie 43

View on Grokipedia
from Grokipedia
Movie 43 is a American consisting of multiple interconnected short sketches directed by thirteen filmmakers, including , , , and Steve Soderbergh, and featuring an of prominent actors such as , , , , , and . The film's framing narrative depicts a desperate, unhinged (Dennis ) pitching increasingly outrageous and profane story ideas to a skeptical Hollywood producer (), with each pitch serving as one of the anthology's segments. Written by a team of screenwriters including Rocky Russo, Jeremy Sosenko, Steve Baker, and Ricky Blitt, and produced by and John Penotti, Movie 43 was released theatrically in the United States on January 25, , by , running 94 minutes and earning an R rating for its crude sexual content, pervasive language, and graphic nudity. Despite its star power and ambitious format, the film was a critical and commercial disappointment, grossing $8.8 million domestically (worldwide $32.4 million) against a $6 million budget and receiving a 5% approval rating from critics on , who lambasted it as juvenile and unfunny. Over time, Movie 43 has gained notoriety as one of the most infamous flops in Hollywood history, often cited for its shock-value humor and the involvement of talent in what many described as career-low material.

Plot

Framing Device

In the anthology film Movie 43, the disparate comedic sketches are unified by a central framing device that provides a meta-narrative structure, varying between the U.S. theatrical release and international editions to adapt the for different audiences. This approach allows the film to satirize creative desperation and technological intrusion while transitioning between the standalone segments. The U.S. version employs a framing storyline titled "The Pitch," in which a down-on-his-luck , Bob Mone (played by ), confronts Hollywood producer Maxwell Barnes () in a high-stakes meeting to pitch his boundary-pushing ideas. Accompanied by his associate (Common), Mone demonstrates the concepts by playing pre-produced short films directly from his laptop, but repeated rejections lead to escalating tension, culminating in Mone drawing a , taking hostages, and sparking a chaotic chase through the studio grounds. This device parodies the cutthroat nature of Hollywood deal-making and the lengths to which creators will go for validation. International releases substitute "The Pitch" with an alternate frame called "The Thread," featuring teenage hackers Calvin () and J.J. (Adam Cagley), one of whom is fixated on scandals, who remotely infiltrate the of a woman () mid-video chat with her boyfriend. The duo compels her to view the segments as a form of digital torment, blending themes of online privacy invasion with prankster mischief, and the narrative builds to disorder as authorities intervene, ending in the hackers' capture amid the woman's ongoing horror. Unlike "The Pitch," which centers on industry satire, "The Thread" incorporates contemporary cyber elements to underscore digital vulnerabilities, though both frames maintain an open-ended without tidy closure. These framing sequences account for roughly of the film's total 94-minute runtime, distributing the connective material across ten brief interludes to minimize disruption to the format.

Segments

Movie 43 consists of 12 standalone sketches, each directed by a different filmmaker and featuring high-profile in over-the-top, often comedic situations designed to and push boundaries of humor. These segments are linked through the film's framing device as wild pitches from a desperate , emphasizing , bodily functions, and social taboos without deeper narrative ties. Common thematic elements include gross-out , self-deprecating celebrity portrayals, and rapid escalation to absurdity, with runtimes typically between 2 and 5 minutes each. The Catch
In "The Catch," goes on a with , who has testicles protruding from his neck (due to a botched "scrotox" procedure), concealed by a in a fancy restaurant setting, forcing awkward conversations and panic as other diners react with cameos amplifying the discomfort and visual shock. The sketch relies on and celebrity self-parody. Homeschooled
"Homeschooled" depicts overprotective parents, played by and , recreating a typical high school day for their homeschooled son (), including simulated , a locker room fight, and a where the mother kisses him to teach about romance, contrasting parental enthusiasm with the child's terror and satirizing helicopter parenting through absurd escalation. The Proposition
In "The Proposition," asks her boyfriend to defecate on her as part of a before she proposes during a , leading to a cascade of bodily humor, public mishaps, and farcical consequences that mock relationship dynamics and personal . Veronica
"Veronica" follows ex-lovers and in a where their explicit, profanity-laced argument about their past relationship is accidentally broadcast over the store's PA system, heightening discomfort as shoppers overhear intimate details and react. The segment uses verbal and escalating embarrassment. iBabe
Tech executives, including Kate Bosworth and Richard Gere, present the "iBabe," a prototype MP3 player built into the body of a naked woman, in a boardroom pitch that parodies Apple launches through mishandled demos, unintended injuries from the internal fan, and critiques of consumer tech obsession with crude humor. Super Hero Speed Dating
"Super Hero Speed Dating" shows superheroes like Batman (Jason Sudeikis) and Robin (Justin Long) navigating an awkward speed-dating event hosted by Superman (Common), with participants including Supergirl (Kristen Bell) and Lois Lane (Uma Thurman) sharing dating woes amid failed pick-up lines, costume gags, and sexist tropes. The segment lampoons superhero rom-com failures in a chaotic ensemble farce. Machine Kids
"Machine Kids" is a faux depicting children trapped inside everyday machines like ATMs and blenders, with the kids' faces appearing on screens to express sadness over adults' criticism of the devices, blending child advocacy with surreal horror elements in a short animated/live-action hybrid. Middle School Date
"Middle School Date" follows preparing for and attending her first school dance with , disrupted by her first period, leading to cringe-inducing attempts to hide the incident amid adolescent humiliations and misguided advice. The segment captures awkwardness through teen tropes. Happy Birthday
In "Happy Birthday," friends and capture a () and subject him to violent, crude torture in a to extract the location of his gold, embodying gross-out chaos and fantasy parody with visceral celebrity antics. Truth or Dare
"Truth or Dare" features and as a couple whose post-date game in the car spirals into bizarre challenges, including enemas via turkey baster, public exposures, racist surgery dares, and tattoos, highlighting impulsive raunchiness and relationship testing. Victory's Glory
"Victory's Glory" presents a mockumentary on a 1970s basketball coach (Terrence Howard) motivating his all-Black team using outdated racial stereotypes, brutal tactics, and violent vignettes against white opponents, satirizing sports clichés and social insensitivities. Beezel
"Beezel" stars Josh Duhamel as a man whose girlfriend (Elizabeth Banks) battles his demonic cat Beezel, revealed as an animated, perverted entity plotting against her through supernatural antics, mixing horror-comedy with relationship jealousy in live-action and animation.

Production

Development

The concept for Movie 43 originated with producer , who pitched the idea in 2000 as an of short comedy sketches designed to showcase emerging and established comedic talent. Inspired by his production work on the ' There's Something About Mary (1998), which pushed boundaries in raunchy humor, Wessler envisioned a format reminiscent of The Kentucky Fried Movie (1977), allowing for quick, standalone segments that could attract high-profile participants without the commitments of feature-length films. He initially approached collaborators including the , the Zucker brothers, and and , but the project stalled amid studios' reluctance to greenlight R-rated comedies at the time. Peter Farrelly and Wessler reunited as lead producers, with Farrelly also directing segments, while additional directors such as and were attached to individual sketches beginning in 2009 to leverage the anthology's flexibility. The scripting process involved contributions from multiple writers, resulting in over 120 scripts; from these, 14 were ultimately selected for the final film, including some that were later deleted. This selective curation emphasized irreverent, boundary-pushing humor tailored to the short-form structure, enabling rapid iteration without a unified narrative arc. Budget planning centered on a modest $6 million allocation, primarily funded by , which acquired the project's rights in 2011 after years of independent development. The low-cost approach prioritized efficient, guerrilla-style production to appeal to stars seeking lighthearted, non-committal roles, aligning with Wessler's goal of fostering creative freedom. Overall, development unfolded from 2008 to 2012, spanning script refinement, director attachments, and financing negotiations across locations in New York, , and .

Casting

The producers of Movie 43 employed a star power strategy to assemble an exceeding 100 celebrities, targeting actors by emphasizing minimal time commitments of one to two days per segment and granting them significant comedic freedom to push boundaries in a no-strings-attached format. This approach allowed participants to join at union equity rates of approximately $800 per day, with potential back-end profit shares, making the project appealing despite its raunchy, experimental nature. Casting began in earnest around 2010, with becoming the first major signing for the segment "The Catch," where he was pitched the outrageous concept directly by producer during a personal encounter. This initial commitment, alongside Kate Winslet's involvement in "The Catch," created a domino effect, as the producers used footage from these early shoots as a "calling card" to recruit additional high-profile talent through personal networks, including the ' connections. Subsequent additions included in "Truth or Dare," in "Veronica," and others like , , and , drawn by the project's reputation for irreverent humor and the opportunity to work with peers. Some actors, such as in her segment role, participated partly due to ties to charitable causes supported by the production. The format also attracted a roster of 14 directors, each helming one or more segments to match the diverse tones, with attachments secured via script pitches rather than formal processes. directed "Middleschool Date," her feature directorial debut, while oversaw two segments and coordinated the overall vision. Other notable directors included for "Beezel," for "iBabe," and for "Happy Birthday," selected for their affinity for satirical and boundary-pushing comedy. Recruitment bypassed traditional auditions, relying instead on actors' reputations and direct pitches to ensure quick buy-in, though challenges arose in coordinating schedules across 3.5 years of intermittent shooting. This method enabled surprise uncredited appearances, such as in the framing device, enhancing the film's star-driven allure without altering core agreements.

Filming

Filming for Movie 43 spanned approximately three and a half years from 2009 to 2012, employing a guerrilla-style approach to accommodate the packed schedules of its . Production occurred intermittently in short bursts, with most segments completed in 1-3 days before halting for 4-6 month breaks. This logistical flexibility was essential given the involvement of numerous actors, who participated for scale pay on the film's $6 million budget. Principal shooting took place in Los Angeles and New York City, with additional locations in Australia dictated by actor availability. Each of the film's segments was captured independently by one of its 14 directors, fostering stylistic variations; for instance, Steven Soderbergh's work on the framing device "The Pitch" adopted a mockumentary aesthetic to heighten its satirical tone. The decentralized directorial process contributed to the anthology's eclectic visual and tonal range, from mockumentaries to straightforward sketches. Technical execution emphasized low-budget practicality for the film's gross-out comedy elements, including custom prosthetics for Hugh Jackman's "The Catch" segment, where dangling testicles were affixed to his neck in what he called "the weirdest fitting I've ever had ." Minimal reshoots were required, as the pre-planned sketches allowed for efficient on-set dynamics. The flexible schedule referenced in casting discussions further enabled high-profile talent to join without major disruptions to their careers. Post-shoot, about 20 minutes of material was excised for pacing, including two filmed wraparound segments—one featuring kids the for extreme content, which was ultimately discarded in favor of the Quaid-led "The Pitch"—along with standalone sketches like "Honey Bunny" and "Sequel." These cuts streamlined the final runtime while preserving the film's chaotic energy.

Marketing and Release

Promotion

The marketing campaign for Movie 43 centered on leveraging its expansive and provocative, boundary-pushing humor to create anticipation. Trailers began releasing in October 2012, with the first red-band version premiering online on October 4 and a green-band edition following on , both emphasizing cameos from stars like , , and alongside glimpses of the film's shock-value sketches. The campaign's , "Once you see Movie 43, you can't unsee it," underscored the intentional discomfort of its gross-out elements, positioning the format as a showcase for bold, interconnected star-driven stories. Publicity efforts included a high-profile on , 2013, in , where cast members such as and made appearances to generate media buzz. Viral online campaigns amplified teaser clips from the trailers, focusing on the film's edgy, non-spoiler hints at scatological and humor without revealing full segment details, which helped build word-of-mouth through shares. Relativity Media managed U.S. distribution rights, handling theatrical rollout and promotional materials tailored to domestic audiences. For international markets, versions adapted the framing device "The Thread"—a narrative of a desperate producer pitching wild ideas—replacing it with an alternate story involving three teenagers hunting for a forbidden video, extending runtime by about four minutes to enhance accessibility and appeal in regions sensitive to the original's intensity. Early test screenings and reactions elicited mixed responses, with some attendees and initial media coverage decrying the humor as overly juvenile and offensive, fueling pre-release that paradoxically heightened interest in the film's unapologetic raunchiness.

Theatrical Release

Movie 43 had its wide theatrical release in the United States on January 25, 2013, distributed by across 2,023 theaters. The film opened simultaneously in select international markets, with early releases beginning in on January 1, 2013, followed by on January 11, on January 17, and several other countries throughout January. By the end of its run, it had been released in numerous territories worldwide, contributing to its international performance. The Motion Picture Association of America rated the film for strong pervasive crude and sexual content including dialogue, graphic , language, and some . International versions featured variations, including an alternate framing device known as "The Thread," which replaced the U.S. version's pitch-meeting setup with a story about teenagers searching for a banned video; this extended international cut ran approximately four minutes longer. While some markets adapted content to comply with local standards, specific edits for or nudity were not universally documented across all territories. In its opening weekend, Movie 43 grossed $4,805,878 domestically, placing fifth at the North American behind competitors like Hansel & Gretel: Witch Hunters and Parker. The film ultimately earned $8,840,453 in the U.S. and $22,324,294 internationally, for a worldwide total of $31,164,747 against a $6 million . Marketed toward young adult comedy enthusiasts, it faced stiff competition from awards-season contenders and family-oriented releases during the window, limiting its appeal to a narrower demographic of fans seeking irreverent humor.

Home Media

Movie 43 was released on DVD and Blu-ray on June 18, 2013, distributed by 20th Century Fox Home Entertainment. The Outrageous Edition included a deleted segment titled "Find Our Daughter," featuring and , as well as an alternate international cut that replaced the U.S. framing device with a story about teenagers searching for a banned video, adding approximately four minutes of footage. The film debuted digitally on platforms including and video-on-demand services on the same date, June 18, 2013. It was available for streaming on starting in 2013 and remained there until around 2018. Domestic home video sales generated an estimated $3.58 million in revenue, with approximately 42,000 DVD units and 26,000 Blu-ray units sold. These figures contributed to the film's overall earnings following its modest theatrical performance, extending its accessibility to home audiences. Special editions included the international extended version, which ran about 98 minutes and featured region-specific alterations, such as different framing narratives in the UK release. As of 2025, Movie 43 is available for streaming on Amazon Prime Video and Tubi, with no major re-releases announced.

Reception

Critical Response

Movie 43 received near-universal derision from critics upon its release, earning a 5% approval rating on based on 87 reviews, with the site's consensus describing it as "a star-studded turkey... loaded with gleefully offensive and often scatological gags, but it's largely bereft of laughs." On , the film holds a weighted average score of 18 out of 100 from 23 critics, indicating "overwhelming dislike." Reviewers widely lambasted the film as tasteless and unfunny, with of the site awarding it zero out of four stars and calling it "the '' of awful." Particular backlash targeted the gross-out humor in segments like the one featuring , whose character sports prosthetic testicles dangling from his chin during a , which critics deemed repulsive and emblematic of the film's juvenile excess. Amid the panning, a few positive notes emerged for select sketches, such as ' direction of the "Middle School Date" segment starring and , which some reviewers praised for its moderate laughs and observational wit on adolescent awkwardness. Variety commended the cast's commitment, though it ultimately dismissed the project as an "appalling misfire." The critical consensus framed Movie 43 as a misguided " ego trip," with its format drawing unfavorable comparisons to 1970s sketch comedies like for lacking the original's anarchic energy. As of 2025, the film's aggregate scores remain unchanged, and it continues to appear on lists of the worst movies ever made, including user-driven rankings on .

Box Office Performance

Movie 43 was produced on a modest budget of $6 million. It premiered in wide release across 2,023 theaters in the United States on January 25, 2013, generating $4.81 million during its opening weekend and debuting at number seven on the domestic box office chart. The film's launch coincided with a winter box office period often characterized by lower attendance, and it faced stiff competition from new releases including Hansel & Gretel: Witch Hunters, which topped the chart with $19.1 million, and Parker, which earned $7.0 million in fifth place, as well as strong holdover Zero Dark Thirty ($9.8 million). Despite the competitive landscape, Movie 43 posted a respectable per-theater average of $2,375 on opening. The film's domestic performance declined sharply after its debut, dropping 66% in the second weekend to $1.64 million while maintaining its theater count. By the third weekend, earnings fell to $280,000 amid a reduction to 777 screens, and it continued to slide, grossing just $18,000 in the fourth weekend on 35 theaters. Movie 43 sustained a theatrical run for 10 weeks domestically, departing the top 10 after four weekends, and ultimately tallied $8.84 million in U.S. and Canadian receipts. Internationally, the film fared significantly better, accumulating $23.6 million across various markets. This contributed to a global total of $32.4 million, more than five times its production budget. Although the domestic showing underwhelmed relative to the ensemble cast's star power, the low production costs and robust overseas earnings—combined with ancillary income from releases—rendered the project profitable overall. As of 2025, the film has seen no major re-releases or additional theatrical earnings, with estimates incorporating home media hovering around the figure due to limited ongoing monetization.

Awards and Nominations

Movie 43 received its primary recognition at the , held on March 1, 2014, at the Wilshire Ebell Theatre in , where several cast members attended to satirize the event. The film earned eight nominations and won three awards, sweeping categories for its perceived poor quality and highlighting its infamy as a critical and commercial disappointment. The wins included: Nominations encompassed: Outside the Razzies, Movie 43 received one nomination at the 2013 for Trashiest Trailer (for its "(Unsee It) Red Band Trailer"), but did not win. As of 2025, the film has no additional formal awards or nominations, though it continues to appear in lists of cinematic low points.

Legacy

Cultural Impact

Movie 43 has achieved lasting infamy as one of the most critically reviled films in modern cinema , often cited as a benchmark for commercial and artistic failure despite its of talent. It holds a 5% approval rating on based on 87 reviews, placing it among the lowest-scored wide releases of all time. The film frequently appears on lists of the worst movies of the , including compilations of cinematic disasters noted for their poor execution and lack of coherence. This reputation stems in part from its initial critical pummeling, which contributed to its reputation as a flop. The film's notoriety has extended into internet culture, particularly through memes centered on the "The Catch" segment featuring with prosthetic testicles dangling from his neck during a with . Clips from this scene have resurfaced periodically, trending online as recently as July 2025 under terms like "Hugh Jackman ball chin," highlighting the segment's grotesque humor as a viral punchline. These memes underscore the film's role in popular discourse on boundary-pushing , often invoked in discussions of awkward celebrity moments. Media coverage has frequently referenced Movie 43 as an exemplar of Hollywood excess, where high-profile stars participated in a project that prioritized over quality. A Vanity Fair article included it among the year's worst pop culture "presents," critiquing the mismatch between its star power and lackluster content. Similarly, a Guardian piece from the same year examined how the involvement of actors like , Winslet, and Jackman exemplified the risks of ensemble-driven vanity projects, questioning the industry's appetite for unfiltered raunch. The described it as an "ungodly gross-out epic" that the collectively sought to disown, framing it as a of unchecked creative indulgence. The film's structure, comprising 14 interconnected sketches directed by multiple filmmakers, has sparked conversations about the viability of the format in contemporary comedy. Critics and analysts have compared it to 1970s predecessors like , noting how its segmented approach amplified inconsistencies and failed to sustain momentum, thus reinforcing skepticism toward similar multi-director experiments. While not directly inspiring sequels—none have been produced—its chaotic production has been analogized in broader examinations of Hollywood misfires, though it lacks the redemptive narrative seen in other infamous projects. As of November 2025, Movie 43 maintains a niche curiosity on streaming platforms like , where its ensemble draw continues to attract viewers intrigued by its infamy, though it has not evolved into a full-fledged . Producer has reflected on the project in interviews as a bold but flawed endeavor that highlighted the challenges of coordinating star schedules over years of intermittent filming.

Retrospectives

In the years following its release, participants in Movie 43 offered varied reflections on the film's chaotic production and bold ambitions. Producer Charles Wessler, who conceived the anthology as a to Kentucky Fried Movie, emphasized the project's guerrilla-style execution, with segments shot independently over several years using favors from his industry contacts to assemble an all-star cast. Director , who oversaw the framing device and multiple sketches, initially defended the movie against harsh early criticism, tweeting in 2013 that reviewers should "lighten up" and recognize it as an experimental $6 million endeavor rather than a catastrophe. Elizabeth Banks, whose "Middleschool Date" segment marked her feature directing debut, later reflected on the experience in 2015 as invaluable learning without the pressure of a huge budget or release, crediting the for the opportunity despite the film's overall reception. James Gunn, director of the "Beezel" vignette, expressed frustration in a 2018 Facebook Live session over losing creative control during edits, describing the final cut as a deviation from his vision. Critical reevaluations in the have occasionally highlighted a minor appeal among fans of boundary-pushing gross-out humor, with some online discussions positioning it alongside "so-bad-it's-good" entries like for its audacious star power and uneven but occasionally inventive sketches. However, outlets like Collider's 2023 retrospective underscored the absence of widespread reclamation, attributing its enduring failure to inconsistent tone, underdeveloped writing, and a disjointed assembly that squandered its ensemble. A 2025 MovieWeb analysis similarly reaffirmed its status as a low point for actors like , though it noted the film's not entirely devoid of redeeming absurdity when viewed through a modern lens of ironic viewing. Movie 43 won Worst Picture at the 2014 . Anniversary coverage around the film's 10-year mark in 2023, such as detailed breakdowns in film blogs, revisited production anecdotes—like the secretive casting process and practical effects challenges—but ultimately reaffirmed its poor execution, with grades averaging around a C+ for sporadic highlights amid pervasive crassness. These pieces highlighted standout segments like "Veronica" (starring ) for sharp dialogue but lamented the overall lack of cohesion. As of November 2025, Movie 43 maintains a stable negative reputation, with its availability on streaming platforms like occasionally sparking minor online discourse about its meme-worthy moments, though no significant reevaluation has altered its consensus as a misguided experiment.

References

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