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‘Snatched’ Critical Roundup: Reviewers Call Amy Schumer’s Comedy ‘Lazy’ and ‘Disposable’

"Goldie Hawn’s big screen return deserves better than Amy Schumer’s criminally unfunny movie," writes IndieWire's Kate Erbland.



The reviews are in for Jonathan Levine’s new comedy “Snatched,” which opens in theaters this Friday, May 12. The film stars Amy Schumer as a young woman who ends up taking her ultra-cautious mother (played by Goldie Hawn) on vacation to Ecuador after her boyfriend dumps her. Their vacation turns into a  trip from hell when the two get kidnapped. The film marks Hawn’s first feature in 15 years.

READ MORE: ‘Snatched’ Trailer: Amy Schumer and Goldie Hawn Go On a Rowdy Mother-Daughter Trip

“Goldie Hawn’s big screen return deserves better than Amy Schumer’s criminally unfunny movie,” writes IndieWire’s Kate Erbland in her D review, adding, “Eschewing the kind of flinty, in-your-face charm that made her turn in 2015’s bawdy rom-com ‘Trainwreck’ (which she both wrote and starred in) such a treat, Schumer’s role in ‘Snatched’ lands solidly in the ‘unlikable’ camp.”

Read some reviews from other critics below.

Deadline’s Pete Hammond:

“This movie sadly is not any sort of comic masterpiece — far from it. In fact at times it is incredibly dumb. But I have to say the stars are aligned to make it a pleasant enough ride even when Katie Dippold’s script and Jonathan Levine’s less-than-disciplined direction threaten to send it careening out of control.”

The Hollywood Reporter’s Jon Frosch:

“‘Snatched,’ a fitfully amusing, entirely disposable mother-daughter caper that’s elevated a notch by its gifted central duo and capable direction from Jonathan Levine. Schumer and Hawn know what funny looks and sounds like, and they lend their dialogue and gags — no matter how tepid — enough snap and personality to distract you, at least some of the time, from the utter laziness of the material. To put it bluntly: They’re worth watching even in junk like this.”

The New York Times’ A.O. Scott:

“Emily drags Linda on a trip to Ecuador that turns calamitous when the two women are kidnapped by a gang of South American baddies. By ‘calamitous’ I mean lazy, sloppy and witless. ‘Snatched’ is one of those movies that subscribes to a dubious homeopathic theory of cultural insensitivity by which the acknowledgment of offensiveness is supposed to prevent anyone from taking offense. The idea is that if you use variations on the phrase ‘That’s racist!’ as a punch line a few times, nothing else you say or do could possibly be racist. Including, say, populating your movie with dark-skinned thugs with funny accents and killing a few of them for cheap laughs.”

In her C+ review, Entertainment Weekly’s Leah Greenblatt writes:

“‘Snatched’ [is] a profane, wildly scattershot comedy that rides almost entirely on the sheer life force of its two stars.”

READ MORE: Amy Schumer Set to Star in Super-Secretive Comedy Feature ‘I Feel Pretty’

TheWrap’s Robert Abele:

“The build-up felt formidable: the promise of a zeitgeisty, unapologetically raunchy stand-up comic and a screwball icon taking the female buddy comedy to the ‘enne’-th power. But what we’ve gotten in ‘Snatched’ is an uninspired, scattershot disaster romp that mostly serves the talents of one half of the marquee pairing, underuses the other half, and struggles to blend R-rated humor, foreign misadventure, and oil-and-water mother-daughter dynamic into a cohesive diversion. There are plenty of worse comedies out there, butSnatched has that vexing air of disappointment to it.”

Vanity Fair’s Richard Lawson

“So much of what happens in Snatched is unnecessary: an unfunny cameo from Chris Meloni that’s nonetheless a wasted opportunity, a gross-out bit involving a tapeworm that seems imported from another movie, a redemption scene involving some Amazonian indigenous people that’s steeped in lazy exoticism, inscrutable supporting characters played by Wanda Sykes and Joan Cusack. (Who casts the great, loquacious Joan Cusack in a movie and doesn’t let her speak? Snatched does.) It’s all a muddled, lukewarm hash, arbitrarily assembled and critically forgetting to showcase what makes Hawn and Schumer—icons of two very different generations of comedy—so special. And wasn’t that the whole point of this project to begin with?”

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