The older I’ve gotten, the less appealing low brow comedies have become. the bodily fluid, drug induced, anatomy centric punchlines just don’t hit the same as they did when I was 15 years old. That doesn’t mean I’m above a good old fashioned dick joke – I did stand up comedy for 10 years – just that when given the choice, I will most likely pass on films aimed at teenage me. Somehow, “The Shitheads” manages to be comprised of everything I dislike in comedies and still comes out on top as one of the funniest films I’ve seen here at Sundance. I tend to be all in on go for broke filmmaking, and Macon Blair delivers exactly that: a balls to the wall, bonkers road trip comedy that constantly one ups itself at every turn and never gives you a chance to know just how far he’ll take things.
It ultimately lands somewhere between his previous two works, not quite as incisive as “I Don’t Feel at Home In This World Anymore” and definitely not as atrocious as “The Toxic Avenger.” Blair feels wholly unrestrained for better or worse, resulting in a tonally imbalanced comedy that tries to have something to say about its class disparity and privilege afforded to the affluent but gets lost in its own absurdist, zany hijinks. “Shitheads” is at its best when it is pushing the limits and not as concerned about what it all means, letting his cast have as much fun with the material and characters as they possibly can and more than willing to accept any and all ideas. Admittedly, it’s a strange inclusion for Sundance, as it doesn’t really fit the vibe of the festival and feels much more coded for something like South by Southwest. Still, “Shitheads” is a whole lot of fun if you’re willing to let it take you on the ride, but can be truly insufferable if you’re not in the car.
“Shitheads” follows two opposite losers who can’t keep a job and can’t ever make the right decisions. Mark (Dave Franco) is an entitled burnout with no self awareness whatsoever and Davis (O’Shea Jackson Jr.) is an earnest do gooder with the best of intentions but always seems to make things worse. They are both brought together by the only job afforded to them, a transport of rich kid and corporate empire heir Sheridan (Mason Thames) from his mansion to a rehab center called Fresh Paths. Mark and Davis have nothing in common on the surface and have no idea who they are actually transporting, leading to a series of wild hijinks that only escalate with every encounter and sets them on a treacherous path that can’t be predicted. “Shitheads” also starts Keirnan Shipka, Peter Dinklage, Killer Mike Render, and Nicholas Braun.
Franco is in his element here, delivering exactly the kind of druggie stoner dude performance we’ve come to expect from him. Thames is the surprise standout, showing a vey different side of his abilities and a broader range of performances. It’s nice to see him break out like this, and without spoiling too much he could absolutely play a lead villain somewhere. He is maniacal and devious and a believable sociopath, living in a world without consequences because immense wealth affords him such luxuries. Shipka is also great in “Shitheads,” donning a Russian accent for no reason whatsoever but once again being one of the better parts of whatever she’s in. It’s Jackson that struggles, wildly miscast and constantly overshadowed by nearly every single counterpart. He simply doesn’t have the comedic chops or timing to lead a bonkers romp like this, and “Shitheads” suffers greatly for his deficiencies. Franco carries him in every single scene, and Jackson ends up undercutting the nuances of his character because he simply can’t communicate it well enough.
“Shitheads” really struggles to mean something and would be much better served if it didn’t even try. It wants to be a commentary on the hardships of the working class, how hard it is to make something of yourself even if you’re the source of your own destruction and how the entire system works to protect and enable the top one percenters. These are interesting ideas that don’t belong in “Shitheads,” a comedy that has one of the wildest hotel drug scenes and Braun as a white rapper wannabe who truly believes he can turn into a werewolf. Yes, really. It is most effective when its at its most absurd, the end result being a mixed bag of tones that give you pause when it should reel you in and keep you hooked. It simultaneously delivers exactly what you would expect while still leaving you wanting more, and maybe one more pass on the script to offer some refinement could really make it something.
I won’t fault anyone that walks away from “The Shitheads” with a sort of “WTF was THAT?” feeling. It’s weird – REALLY weird and if you’re not on board for the absurdity and ramped up -well – everything, this will feel like 9 hours of torture despite being a cool, breezy 99 minutes. I ended up more on the positive side, letting the zaniness and scatological humor take me wherever it wanted to and never asking to get off the ride. I’m still really out on Jackson and I think his wooden expressions and lacking comedic capabilities hurt the film more than its tonal struggles. But its high soar just enough to make “The Shitheads” a really fun time at the movies. It’s ultimately entertaining as hell, and another film that should be seen with a big crowd who are dialed into what “The Shitheads” has to offer.
Not to turn this into a TikTok headline, but you really won’t believe what happens next in “The Shitheads.“
Rating: 3.5 out of 5 Stars
“The Shitheads” had its world premiere at the Sundance Film Festival on January 23rd, 2026.
