Reading over the titular typo that opens his girlfriend Apple’s (Becki G) wake up text, rags-to-riches TV sensation London Clash (Machine Gun Kelly) is hip to the homophone, but shaky on the dual definitions. A search engine query calls to mind a suicide note that sets in motion a premise that illustrates what happens when underqualified stoners (MGK and Mod Sun) go full Chaplin by writing, directing, starring, and composing. (The duo’s sole contribution to the advancement of visual literacy is the placement of a camera on a rotating microwave turntable.) Assuming the worst, London and his band of merry druggies break into Apple’s home and in the process knock over urns containing the ashes of dead relatives. The idea is to replace the contents with ashes from salami-sized blunts. Rather than supply their celebrity friends (Whitney Cummings, Pete Davidson, Dennis Rodman, Avril Lavigne, Tom Arnold) with a script, Kelly and Sun invite them to ad-lib their cameos. (Danny Trejo amasses the most screen time in the closing blooper reel.) And what's with the severe underboob on MGK's betrothed Megan Fox? Chances are audience members will be so high that the underlying Fordian theme of career vs. family will be as wasted as the viewer. (2022) — Scott Marks
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