Hot Tub Time Machine

Live with no regrets. As much as we all may try, there are bound to be moments we would like to do over. The bigger question is whether or not, if given the opportunity, would you actually change that event? Adam (John Cusack), Nick (Craig Robinson) and Lou (Rob Corddry) are given this opportunity in Hot Tub Time Machine.


These former best friends have reached a point in their respective lives where they are simply spinning their wheels. Adam has just been left by his girlfriend and has his shut-in nephew, Jacob (Clark Duke, Sex Drive), living in his basement. Nick, a former musician, is working a dead-end job as a dog groomer. Lou, the degenerate of the bunch, is so low on life he ends up in the hospital from an incident involving car fumes and alcohol. Told to look after Lou, Nick and Adam, along with Jacob, decide to return to the ski resort of their glory days. From there we all know what happens. They have a wild party in a hot tub, and wake up in 1986 with another chance to start adulthood properly.

The most important thing about HTTM is to not take it too seriously. If you are expecting a life-altering comedy that can help you reevaluate your situation, this is not for you. What will be found in HTTM is a surprisingly enjoyable film that keeps you laughing (or at least chuckling) from start to finish. The jokes are continually juvenile and asinine, there are continuity errors of the now you see it, now you don’t variety, and there are clichés galore, but HTTM wants you to notice these and enjoy them.

I may not have lived through the neon glory that was the eighties, but HTTM finds the best (read: worst) of that era and brings it back to life. There is bad hair, leg warmers, bright colors, hair metal (the soundtrack is full of eighties hits), and more eighties stereotypes that will make older viewers swell with nostalgia for a lost (for some, forgotten) time without shame.

The inclusion of Jacob serves as an excellent reminder of how different it is for young adults now with technological advancement and completely altered social interaction. Duke is entertaining as usual, and it is nice to see him in a role that isn’t the unreasonably confident smart-aleck. Robinson, Cusack, and Corddry are not asked to venture outside their limits, which allows for a solid relationship between them (see: “great white buffalo” scenes). The supporting cast makes the three even better since all of them are living in the eighties as if nothing has changed. Crispin Glover has an odd role as Phil the bellhop, but thankfully, does not display his unnerving gazes like usual. Lastly, Lizzy Caplan and Chevy Chase have small roles, but are able to leave their marks on the film with their styles of humor.

Like any movie, HTTM has its high points and its lows, but separates itself by finding humor in those low points that never allows your mood to join the unhappy levels of the characters. You will be pleasantly surprised, entertained, have fun and most likely get a cheap laugh.

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