Yes, you have heard this song before
Nothing squanders built-up goodwill quicker than a third film in a series that’s still making money, but is out of ideas. It’s the “Home Alone 3” effect: audience optimism turns to disappointment, before realizing there are no more stories to tell on this thin construct.
“Pitch Perfect 3” isn’t quite that bad, but it’s only a matter of degree.
The second sequel to the a cappella choir comedy feels less like a movie than a bunch of deleted scenes strung together in the guise of a plot. The leads belabor the same tired conflicts repeatedly with zero progress. Secondary characters have nothing to do for so long, it’s disarming when they finally speak.
The chemistry that worked for the college-aged singers loses the magic with our heroes in a post-university world, still needing an excuse to get together in one place. Opportunity awaits at a USO tour, with a battle of the bands to open for DJ Khaled — portrayed in “Pitch Perfect 3” less as a person, and more like product placement. He might as well be a bottle of Gatorade.
The film opens promisingly with Beca (Anna Kendrick) quitting her producer job with an idiot rapper, and commiserating with her roommate Fat Amy (Rebel Wilson). Other former Barden University Bellas are having their own failure-to-launch issues, so they drop everything and jump on a tour of military bases — that somehow are all in the most fabulous cities in the world.
Things get worse when John Lithgow shows up as Amy’s grifter father, and isn’t it amazing we’ve said that twice this year? Lithgow, who has been nuanced, dedicated and moving as Winston Churchill in TV’s “The Crown,” is the opposite of all that in “Pitch Perfect 3.” He seems to be workshopping his Australian accent on the fly. (And this still may be a better Lithgow performance than in “Daddy’s Home 2.”)
From there, it’s a series of pratfalls, half-explored romances, illogically evil rival singers, misunderstandings and easily resolved conflicts. It’s the sign of a rushed or lazy screenplay, when the first few minutes of the film are spent quickly and dismissively undoing the boyfriends acquired and happy endings of “Pitch Perfect 2.” There’s no desire for any character-building or continuity. Instead everything is quickly erased like a shaken Etch A Sketch, so the filmmakers can start over and make some more money.
And then there’s the real problem with “Pitch Perfect 3”: The best thing about the first movie — the singing — feels like an afterthought.
The first “Pitch Perfect” succeeded not just because of the music and likable characters, but because it felt like there were stakes. In “Pitch Perfect 3,” it quickly becomes clear that the best resolution for these young women would be to simply stop hanging out together.
The film still features some great songs — Dr. Dre’s “Let Me Ride” and George Michael’s “Freedom! ’90” are highlights. Kendrick once again is a wry and winning presence, and convincing as a reluctant pop star. Director Trish Sie excels during the kinetic performance scenes, aided by a cast that continues to commit to their diminishing material.
But the slapdash screenwriting doesn’t allow any momentum to build. These are presumably independent young adults — most of the lead actresses are in their 30s now — continuing to wrestle with 18-year-old problems. And when they finally take the stage, it’s hard to care.
You might as well be listening to the soundtrack in your car.