Amy Schumer and Goldie Hawn get lost in the jungle with ‘Snatched’

Amy Schumer and Goldie Hawn get lost in the jungle with ‘Snatched’

Judging by the slightly wicked title of the past participle, you might also see “snatched up” as a stunned female version of the comedy “Taken,” assuming you care to see it at all. Goldie Hawn and Amy Schumer play a mother and daughter on vacation together in Ecuador, where they are kidnapped and rescued. Liam Neeson does not appear to save the day; The women manage, thank you very much. But saving the film turns out to be a completely more difficult proposition.

It starts pretty promising. The character of Emily Middleton, an aimless New Yorker who loves sex, alcoholic drinks and Instagram, is very much in Schumer’s steers; She could be a not so distant cousin of the glorious loser-heroine Schumer wrote for herself to play in the much higher “Trainwreck”. In the opening scenes of “Enraptured,” Emily is unceremoniously discarded by her musician boyfriend (Randall Park, Balancing a Very Little- “Fresh Off the Boat” goatee), with whom she had already booked a vacation in Ecuador.

Amy Schumer and Goldie Hawn get lost in the jungle with ‘Snatched’

Tickets are non-refundable, and Emily, after begging all friends she meets, invites her mother, Linda (Hawn), who refuses at first, but eventually accepts grudgingly. For a while, we are happy to do the same. After all, it’s been 15 years since we last saw Hawn on the big screen, in “The Banger Sisters,” and a sunny tropical resort is not the least pleasant place to meet again.

The characters’ cross-generational sniping is thin and familiar, if believable enough. Emily’s a wild child; Linda loves cats and doesn’t get Facebook. Hawn is in tamped-down mode, playing the cautious, sensible-minded foil to Schumer’s unruly comic engine. But the two leads have a certain spark that shines through nonetheless, even past the layers of sweat, grime, blood and tears that begin to pile up as their vacation quickly goes south.

Or north, rather. Making the mistake of falling for some hunky man-bait (Tom Bateman), Emily lands herself and her mother in Colombia, where they are imprisoned by a menacing crime boss named Hector Morgado (Oscar Jaenada). They manage to escape, but in the ensuing scuffle, a couple of Morgado’s henchmen die — and so too does the laughter, as slapstick devolves into splatstick and corpses start to pile up faster than fat jokes.

It’s not that there isn’t comedy gold to be mined from the sight of two American women trying to find their way through the Amazon — especially with help from a bumbling tour guide (Chris Meloni) and two legitimately fierce “platonic friends” (a nicely matched Wanda Sykes and Joan Cusack) with serious special-ops skills. The bigger problem is that side-splitting comedy and throat-splitting violence don’t always make natural bedfellows, despite Hollywood’s many, many attempts to convince us otherwise.

Amy Schumer and Goldie Hawn get lost in the jungle with ‘Snatched’

There have, of course, been some welcome exceptions to the rule, including the vehicles of Melissa McCarthy “Spy” and “The Heat”. This latest film, like this one, was scripted by Katie Dippold (also wrote last year’s woman, which makes it more lamentable than “Ravaged” under the uninspired direction of Jonathan Levine (“The Night Before”, “Hot Bodies “), He must feel like a lazy, lack of laughter.

With a cast of Colombian characters that can be evenly divided between salt-peasants and thugs with guns, “Arrebatado” is more foolish than malicious. His cloddishness is, if anything, a proud staple of Hollywood. Even so, the film will not do much to counter the widespread accusation that Schumer, a genius in the assimilation of masculine assumptions about femininity, sexuality and body image, is in a much more questionable terrain when it comes to using the Comedy to address issues of race and culture.

That is to say that the most acute moment of the film is a little dumb of the physical comedy that implies a door, a mirror and some sensitive feminine hygiene if improvised. It is a classic gag from Schumer’s view, in which hilarity comes wholly from the spectacle of unpleasant, inconvenient female desire, not politically kept away but liberated goofily for a change. Along with a gutbuster like that, the tired jokes about the horrors of Terrorism – scorpions, tapeworms, fatal cliff dives, non-English speakers – really do not stand a chance.

I do not mean to think of the xenophobia of “Arrebatada”, which is not the first studio release to mock the cultural disorientation of their characters and end up revealing theirs. Even without casual racism, the film would still be hard to beat the lukewarm sentimentality of Mother’s Day, or give a comical wonder as Hawn, the return to the big screen she deserved. “Rash” may represent a failure of sensitivity, but it is an even greater failure of the nerves.

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