Film

Game Over, Man!

Name: Game Over, Man!
Genre: Action, Comedy
Released: 2018
Cast: Adam Devine, Anders Holm, Blake Anderson, Utkarsh Ambudkar, Jamie Demetriou

Three struggling game developers stumble into a hostage situation at a hotel and decide they're the ones to save the day. It's a goofy action-comedy that knows exactly what it is: fast, silly, and happy to let its cast improvise their way through increasingly absurd setpieces. For people who love their comedy broad and their action unserious.

TMDb rating

2.7

Should you watch it?

Watch it if you like loud, profane, gleefully dumb comedy where grown men play at being action heroes and the set pieces are the joke.

Skip it if you want a tight, sharp action film, since the thrills are clearly secondary to the gags and the juvenile humour can wear thin fast.

What it asks of you: Roughly 101 minutes, it wants you to switch off expectations and ride a loose, fast run of jokes that comes hard and often, with little patience for slow build-up.

Not sure? Find tonight's pick in a minute.

If you liked this

21 Jump Street2012

Two comedians playing cops who go undercover at a college, with genuine action set-pieces that never overshadow the jokes. It nails the same tone: funny people in action situations who are genuinely trying.

But The plot is paper-thin and the humour relies heavily on riffing, which means it can feel slack in places. Some of the jokes haven't aged brilliantly.

Hot Fuzz2007

Small-town British cop comedy that takes its action seriously while being hilarious about it. Perfectly balanced between genuine excitement and parody, with a cast that commits fully to every joke.

But It's built on knowledge of cop-movie tropes; if you haven't seen the films it's parodying, some of the wit will slip past. Pacing dips in the middle third.

The Nice Guys2016

Two mismatched guys stumble through 1970s LA solving crimes while genuinely antagonizing each other. Ryan Gosling and Russell Crowe improvise their way through a real mystery that gets weirder and better as it goes.

But The plot does eventually matter, which means there are slower exposition-heavy stretches. It's also long for a comedy at nearly two hours.

Not sure tonight? Get a pick in a minute, starting from Game Over, Man!

The wildcard

Something you would not have found on your own.

I Think You Should Leave with Tim Robinson2019

Both are built on performers willing to be completely ridiculous in service of a joke, prioritizing commitment and awkwardness over punchlines. The humour lives in the desperation.

Sketch comedy where the punchlines are commitment and escalation rather than wordplay. Robinson throws himself into absurd situations with the same energy as Game Over, Man!'s cast—funny because he refuses to break or acknowledge the ridiculousness.

But It's aggressively stupid in ways that feel personal and uncomfortable. If cringe comedy makes you squirm, this will test your patience. Some sketches overstay their welcome deliberately.

I Think You Should Leave with Tim Robinson poster

Tropic Thunder2008

Actors playing actors in an action film, committed so deeply to every joke they stop being jokes and become characters. It's chaotic, confident, and absolutely stacked with bits that land.

But Heavy on celebrity cameos and in-jokes; if satire isn't your thing, it's just loud. One performance has aged poorly and people will notice.

Pineapple Express2008

Two guys—a stoner and a dealer—get caught up in a crime thriller they don't understand. It commits to the action beats while letting the characters be genuinely confused and funny about everything happening around them.

But Relies on pot humour throughout, which narrows the audience. The story gets genuinely dark in ways that might jar against the comedy.

The Other Guys2010

Desk jockeys playing detective in a cop-action film, with Will Ferrell and Mark Wahlberg building chemistry through sheer comedic desperation. It understands why action comedies work: contrast.

But Mark Wahlberg's character isn't funny on purpose, which some people find tedious. The action is played straighter than the humour, creating tonal whiplash.

Popstar: Never Stop Never Stopping2016

A musical mockumentary about a ridiculous pop star with a genuinely excellent cast and real production value. It loves what it's mocking while being absolutely brutal about it.

But The mockumentary format can feel repetitive, and the jokes are very inside-baseball music-industry stuff. Runs out of ideas before the end.

Popstar: Never Stop Never Stopping poster

Stuber2019

Uber driver gets roped into a cop's stakeout in Los Angeles. Dave Bautista and Kumail Nanjiani spend two hours bickering in a car, and the film knows that dynamic is enough to carry it through set pieces.

But The premise is extremely thin and there's nowhere really to go with it. Plot-wise it's repetitive and the emotional beats feel forced in.

Central Intelligence2016

A former bullied nerd becomes a jacked CIA agent and recruits his old classmate for a mission. It's earnest in a way that lets the action land while Dwayne Johnson's enthusiasm sells every joke.

But The action is pretty standard and the emotional stuff doesn't quite work. It's safe to the point of blandness, with jokes that feel workshopped to appeal to everyone and excite nobody.

Kung Fury2015

Both films have zero irony about their own silliness—they're genuinely trying to make action scenes work while being as funny as possible about them, and that sincerity is what makes them land.

A Swedish short film about a cop who gains kung fu powers and fights Hitler, made on YouTube budgets with genuine stunt work and an unhinged love for 80s action movies. Shamelessly dumb and impossibly creative at once.

But It's deliberately cheap-looking in places and the jokes are very 'internet comedy' from a specific era. Some gags are genuinely inexplicable, which reads as either genius or self-indulgent nonsense depending on your mood.

The Man from Toronto2022

Same DNA as Game Over, Man!: likeable performers thrown into action scenarios where their job is simply to be funny and keep moving. No pretension, no attempt at subtext, just committed people in ridiculous situations.

Kevin Hart and Woody Harrelson as a bumbling exterminator and an assassin who get mistaken for each other, forced to improvise their way through increasingly elaborate sequences. Hart's physicality and Harrelson's deadpan create real chemistry in a film that doesn't pretend to be anything but fun.

But It's aggressively plot-light and the action is serviceable at best. If you're looking for genuine stakes or surprises, you won't find them—it's content designed not to demand anything of you.