David Brent: Life on the Road


Comedy  Music  


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December 11, 2016 at 12:32 pm



Ricky Gervais as David Brent
Nina Sosanya as Dr. Vivienne Keating
Jo Hartley as Pauline Gray
720p 1080p
700.62 MB
23.976 fps
1hr 36 min
P/S 60 / 391
1.45 GB
23.976 fps
1hr 36 min
P/S 63 / 392

Movie Reviews

Reviewed by Pjtaylor-96-138044 9 / 10

Cringe-inducing, well-made and funny but never truly exceptional and generally unmemorable.

*** This review may contain spoilers ***

Reviewed by comps-784-38265 9 / 10

Painful Comedy Showing The Character 'David Brent' unsuited as a subject for a film

Being a huge Ricky Gervais fan, particularly because of The Office, part of me couldn't wait for this film, but the other part of me had its reservations. And as was the case with Alan Partridge: Alpha Papa, I feared the TV to film transition might be a bit of an obstacle, and this unfortunately seemed to be the case.The film starts well with the laughs cumin (ask me how I'm spelling it. C-U-M-I-N) every few seconds, introducing us to his new office and from the get-go, we establish who will play which role in the film - the love interest, the bad guy (if they can be called that), the geeky, lovable friend, and so on. These roles stay consistent, rarely challenging the audiences' expectations, moving forward a predictable narrative throughout the film. That being said, twists and turns weren't necessarily expected and the pay-offs at the end were still warmly welcomed and, as with The Office finale, quite emotional.Having started strongly, the film slows down quite considerably in the middle third, without a lot of story and/or complications. It really becomes a montage of failures for Brent where he is almost always the butt of every joke. And as the film progresses, Brent goes from typical Brent - arrogant yet embarrassing - to pathetic, to just feeling sorry for him. And at times when we're supposed to be laughing at him, I just felt like I couldn't bring myself to laugh at him anymore. It's at this point that he strays from the character of David Brent in a film which could have easily been renamed Derek: Life on the Road. The film becomes very much an emotionally-driven experience at the expense of humour. The emotional elements of the film in the last 20 or so minutes were strong however, but they just felt a bit too sad for the spin-off of one of the most loved UK comedy characters of all time. It cannot be disputed, however, that we do not see a concluding development of Brent as a person, because to see the more human side to Brent was refreshing.The cast of the film, unlike The Office, which consisted of largely unknown actors at the time, consists of almost every actor in a UK sitcom in the last 5 years and a handful of comedy panelists. Ricky does act brilliantly in this (although his vocal exhale/laugh combination does start to get a bit annoying after the 50th time of hearing it). Mandeep Dhillon, as the receptionist, was brilliant and did a great job of maintaining the documentary feel and therefore the real emotion of the film and of the character of David Brent towards the end. Doc Brown as Dom was also very good and I'm glad he was so involved after their Comic Relief single 'Equality Street' a few years back. The songs used throughout, as released in an album alongside the film, are so funny yet also brilliant melodically.It's a must-watch for any David Brent fan, and as much as I'd love to give it more than a 7 (I gave The Office a perfect 10), the title song summarises the experience quite nicely - foot down to the floor, the film only ever gets to 70 miles per hour and no more.

Reviewed by andyg_1992 9 / 10

70 Miles Per Hour But No More

*** This review may contain spoilers ***

Reviewed by whynotgoglobal 9 / 10

Ricky Gervais lets sentimentality get the better of him - again

It's fair to say that 'The Office' was a well-observed mockumentary sit-com about the everyday mundanity of office life. A rare thing in a sit-com that seemed to improve as it went, making strong social comment along with laughs. But since the success of 'The Office', the Gervais-Merchant writing team have delved into difficult areas; the social comment, and laughs, declining as they went. 'Extras' felt indulgent and 'Life's Too Short' short on a lot of things. Much like Steve Coogan with Alan Partridge before him, Ricky Gervais - after some time away in Hollywood - has now returned to the character that first made his name. However, this time Stephen Merchant isn't anywhere to be found. As explored in the final Christmas episodes, David Brent is now working in the Berkshire area as a sales rep for a cleaning company. But, self-absorbed as ever, having saved some money, he takes some time off work, hires a backing band and sound engineer and organises a 'tour' of the region, living out his dream of being a musician. But, inevitably, his dream falls short for a second time. The film, therefore, is a building on one of the famous 'The Office' moments, where Brent 'went home to get' his guitar and tells the story of his former dream during a rather unsuccessful training day. What starts off as an adlibbed piece in a thirty minute episode becomes a feature film. There is a hint of over-indulgence here. When asked why there were so many songs in 'Bigger, Longer and Uncut', Trey Parker and Matt Stone replied that they 'wanted to be rock stars.' Gervais himself is a former musician, in a band that never quite made it. 'David Brent: Life on the Road', therefore, is a vehicle for Gervais to have his music heard on a wider scale. While these are songs designed to be comical, they are passable as songs written by someone who knows his stuff, rather than coming across as too amateurish. But with so much screen time dedicated to live performances, the songs are neither good, nor funny, enough to justify the focus. No doubt one of the funniest elements of 'The Office' was Brent's awkwardness when faced with sensitive subjects, such as race, disability and sexuality. A lot of the songs featured are along similar lines (literally), with awkward lyrics bordering on the offensive. While no offence is intended, the fact that it has become such an important part of his comedy over the years shows perhaps the frequent post-irony at play has left Gervais confused as to his own thoughts on the subjects. Moments become awkward, but for the wrong reasons. There are laughs here: some office bants still feature; and some of the songs do hit the funny bone on occasion. But one thing that's missing here is the others: Gareth, Tim and Dawn were all important parts of 'The Office' structure, and Brent's playing off them is what made it so strong. Here though, they are not present, and his interactions with the band - with the exception of Doc Brown's Dom - are kept on stage, lacking the natural flow of the series.But, more importantly, it may be the absence of Merchant that is most noticeable. Gervais needed the second writer to reign the Brent within and stop this feeling like life imitating art.As Richard Herring would say: 'They should have put Tim from 'The Office' in it.'

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