The best thing about Fun Mom Dinner is the soundtrack. It’s all mainstream early-to-mid eighties hits–some Cars, 99 Luftballons, the song from the end of Sixteen Candles because a Jack Ryan crush is a major plot point (which is a little weird since it’s lead Katie Aselton was six when Sixteen Candles came out and she formed that crush). Sadly Jack Ryan doesn’t appear in the movie. Instead it’s Adam Levine semi-standing in as the object of her infidelity fantasy. Fun Mom doesn’t have a lot of great writing, but it’s never godawful. It’s trite and benign, but it’s not godawful. So Levine’s laughably godawful performance is all his own. Especially since it’s things like… he can’t pretend to listen to people.

Aselton is one of the four not really fun moms out at the Fun Mom Dinner. She ends up being the lead because maybe she’s going to cheat on not good parenting partner and perpetually stressed out husband Adam Scott with Levine. Also because she brings the moms together. She’s friends with Toni Collette, who seems like she’s going to be the lead at the beginning; she’s the disaffected pot-smoking mom. Only it turns out the script’s got nothing for her to do after she buries the hatchet with other fun mom Bridget Everett in their third scene together. Before the end of the third act. There’s some more character development for Collette after that point, but it’s when her husband (Ron Huebel) talks to Scott about it. Huebel and Scott are taking care of their kids while the moms are out having fun.

Everett’s kids and husband don’t matter. They don’t show up after a brief opening introduction. And the four fun mom, Molly Shannon, is in a similar situation. Only she’s divorced so the film isn’t ignoring her husband, just her kid. Or kids. They make so little impression it’s hard to remember how many Shannon or Everett have. And Shannon does get a romantic flirtation subplot with Paul Rust, which could have been cute. It’s proto-cute.

For not getting any story to herself, Everett still is the backbone of Fun Mom Dinner. She has enough energy to make moments connect, even if they don’t always work. Shannon’s character is written too slight; her performance isn’t too slight, the writing is too slight. Collette just loses anything to do except procure pot for the outing or encourage smoking pot and drinking. Aselton’s got the one-two punch of a slightly written character–really, Julie Rudd’s script has the depth of a television commercial–and a too slight performance. Aselton’s never believable. The movie’s never believable, but you can pretend with Everett, Collette, and Shannon. With Aselton. No.

Fun Mom Dinner is not some raunchy, raucous affair. If it weren’t for the moms toking some reefer and dropping f-bombs, it’ll be PG. Aselton’s threatened dalliance with Levine isn’t just bad because Levine’s awful or Asleton’s writing and acting is thin, it’s because director Jones doesn’t do dramatic tension. Not even when it seems like Everett is going to throttle Collette for being such a nasty elitist. Oh, right. It’s never explained why Collette’s such an elitist since she’s married to super-nice, super-supportive doofus Huebel.

Clearly there’s not much budget. When the moms are roaming the streets, the streets are empty. When they’re in restaurants or bars, the shots are very careful not to include too many other people. If Jones weren’t shooting it in Panavision and filling the wide frame with nothing, the movie might not seem so visibly sparse. Sean McElwee’s photography isn’t bad. It’s not great, but it’s thoroughly competent. He’d have been able to shoot the frame more concise.

Jon Corn’s editing is terrible, however; he’s worst with Levine, which is kind of hilarious. Not really. It’s just unfortunate, like everything with Aselton once she becomes the de facto lead.

Fun Mom Dinner is also really short. Eighty-one minutes. And full of filler. Karaoke filler. The movie’s target audience is moms neglected by spouses who daydream about smoking pot and singing Karaoke. Hopefully. Because otherwise it doesn’t even have an intended audience. Otherwise it’s just an exercise is fodder.

Actually the Karaoke deserved more screen time. Everett and Collette can sing. Embracing it–though Everett gets two singing scenes–would’ve helped. It would’ve had to help at least a little.

There’s an extended cameo with Paul Rudd and David Wain as a pair of pot shop owners who avoid any contact with their wives. As much as possible anyway. Like so much else in the film, no one does anything with it except the actors. The actors make it work. Sort of. They keep Fun Mom from being overrun by its own disposability. They don’t make it respectable, but they keep it from being miserable.

Except Levine. And Aselton when she’s with him.

Fun Mom Dinner isn’t terrible enough to be a curiosity. It’s inoffensively pointless.

ⓏⒺⓇⓄ

CREDITS

Directed by Alethea Jones; written by Julie Rudd; director of photography, Sean McElwee; edited by Jon Corn; music by Julian Wass; production designer, Tracy Dishman; produced by Andrew Duncan, Alex Saks, and Naomi Scott; released by Momentum Pictures.

Starring Katie Aselton (Emily), Toni Collette (Kate), Bridget Everett (Melanie), Molly Shannon (Jamie), Adam Scott (Tom), Rob Huebel (Andrew), David Wain (Wayne), Paul Rudd (Brady), Paul Rust (Barry), and Adam Levine (Luke).