The Three Stooges: The Movie

Generally speaking, imitation might be the sincerest form of flattery, but in the case of The Three Stooges: The Movie, that’s not necessarily true.

Sibling filmmakers Peter and Bobby Farrelly (There’s Something About Mary) obviously are fans of the bumbling comedy trio that had its heyday more than a half-century ago. That affection shows in every frame of their reverent big-screen incarnation.

The directors have essentially tried to replicate the Stooges of old with a new cast, a present-day setting and a slew of cameos, but it’s unlikely that the result will win over a new generation of fans.

That leaves two potential demographics for the movie, with a wide age gap in between — older audiences who recall the original black-and-white Stooges shorts and features, and small children who will be receptive to the barrage of silly slapstick gags and pratfalls.

The film is divided into three loosely connected chapters that track the Stooges — Moe (Chris Diamantopoulos), Larry (Sean Hayes) and Curly (Will Sasso) — in their efforts to save their childhood orphanage from bankruptcy. Plenty of bickering and mischief ensues as the trio becomes caught up in a murder-for-hire plot and inadvertently experiences fame through reality television.

The problem with the film is less in the execution that in the concept, for the same reason that the original Stooges shorts were more amusing than their features. Cartoonish sight gags about being hit in the head and poked in the eyes are better in small doses before it starts becoming repetitive.

As you would expect, the whole enterprise is relentlessly over-the-top, with an emphasis on low-brow slapstick with the familiar Stooges sound effects used throughout.

The actors capture the mannerisms and expressions of the original characters, which is basically all they’re asked to do. Among those with cameos are Jane Lynch, Larry David and Jennifer Hudson, each playing nuns.

More silly than idiotic, the script is heartfelt but uninspired, with last segment the best of the three, primarily because it best uses the contemporary setting to its advantage (plus, it features the best extended series of gags during a wedding reception).

Yet by the end, any nostalgic kick has worn off and the movie feels more like a failed experiment in which the headaches are transferred to moviegoers.

Rated PG, 92 minutes.