I have to wonder if Russell Brand ever looks back at his body of work and thinks if it’s just coincidence that he ends up involved in so many projects that are essentially stories of his life. Get Him To The Greek is the latest in the line of would-be biopics and the form looks set to continue with his remake of Arthur slated for a release next year.

Here, Brand takes the incarnation of himself from Forgetting Sarah Marshall and turns a minor character into a driving force and for a showcase of rock excess, it’s a successful development.

Outrageous rock frontman, Aldous Snow (Brand), is down on his luck. His last album — African Child — has been named third behind War and Famine as the worst things to hit the continent. In steps loyal fan and record company gopher, Aaron Green (Hill) who comes up with the idea of reenacting Snow’s seminal gig in LA’s Greek theatre 10 years later. Green is charged with escorting the washed out hedonistic rock star from London to the venue and this is where the fun begins.

And it is fun, for the most part. The movie is filled with some perfectly pitched parodies of AC/DC style misogyny (favourites being the backdoor flavoured Ring ‘Round and the rather does-what-it-says-on-the-tin Fuck Your Shit Up) and while there is a bit of gross-out as we’d expect from anything that Judd Apatow puts his name to, I was pleasantly surprised that we didn’t have to reach for vomit or oversized dildos for the chuckles. Well, not all the time, anyway.

Some of the best laughs came from the simple moments like Snow’s reaction to Metallica’s Lars Ulrich coming into the room (“Oh, Enter Sandman”), or when he tries to talk down Green from spazzing out on a drug cocktail called Jeffrey (“When the world slips you a Jeffrey, stroke the furry wall”). Our two heroes work well together and a lot of the interaction has an improv and natural feel about it, to the extent that I felt quite within my rights to worry that Russell Brand was leading Jonah Hill astray.

But for a movie whose very premise is about the trials and tribulations of getting an unreliable person to an important appointment in a challenging timeframe, there’s absolutely no urgency. The plot plods along from location to location, takes off its shoes, makes itself comfy and stays awhile. If you’re ever in the market for a film that should last 90 minutes, this is probably a pretty decent example. Why, then, it goes on for practically 110 is anyone’s guess.

Revelation of the film — despite the turns from Brand and Hill — has to be Sean “Insert Current Moniker” Combs, whose comic timing and presence is a constant delight in the role of Hill’s nervy boss. To steal a scene or two from Brand takes some doing and deserves credit.

If you’re looking for funny, you could do a lot worse, but in the tradition of less being more, a twenty minute shorter director’s cut might well be rock nirvana.

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