Name: Pitch Perfect: Bumper in Berlin
Genre: Comedy
Released: 2022-11-23T00:00:00+00:00
Cast: Adam Devine, Sarah Hyland, Flula Borg, Lera Abova, Jameela Jamil

The opening scene of Pitch Perfect: Bumper in Berlin is a microcosm of its many problems. Bumper Allen (Adam Devine) stumbles through a Berlin nightclub, his attempt at charming a room full of Germans falling flat with every cringe-worthy line. The camera lingers on his awkward dance moves and forced smiles, as if begging the audience to find him endearing. It’s a fitting introduction to a series that tries too hard and lands nowhere near its mark.

Several years after we last saw him in Pitch Perfect, Bumper relocates to Germany to revive his music career when one of his songs gains unexpected popularity in Berlin. The premise is thin, but the series’ creator, Megan Amram, and her writing team seem more interested in leveraging the franchise’s musical roots than developing a compelling narrative. The result is a hodgepodge of musical numbers and half-baked jokes that rarely cohere into something resembling a cohesive story.

The series’ strongest moments come when it leans into its musical heritage. The acapella performances are, for the most part, well-executed and energetically staged. Flula Borg’s Pieter Krämer shines as both a former member of Das Sound Machine and a music manager navigating the complexities of Berlin’s vibrant music scene. His chemistry with Lera Abova’s DJ Das Boot is palpable, and their shared musical expertise adds a layer of authenticity that the rest of the series often lacks.

Borg’s performance is a standout, bringing a much-needed sense of charm and wit to the series. His ability to switch between English and German seamlessly adds a layer of depth to his character, making him one of the few truly engaging figures in the show. Abova’s DJ Das Boot, Pieter’s sister and a famous Berlin DJ, also delivers a strong performance, her character adding a much-needed feminine perspective to the otherwise male-dominated cast.

However, the series stumbles when it strays from its musical foundation. The comedy feels forced and outdated, relying on cheap gags and mean-spirited humor that falls flat. The character dynamics are similarly unconvincing; Bumper’s relationships with his newfound friends and colleagues feel contrived and lacking in depth. Sarah Hyland’s Heidi, an American army brat turned songwriter, is a particularly weak link, her character arc feeling rushed and underdeveloped.

Hyland’s performance lacks the nuance and depth needed to make Heidi a compelling character. Her interactions with Bumper often feel forced, and her secret songwriter persona adds an unnecessary layer of complexity that never pays off. Jameela Jamil’s Gisela, a former member of Das Sound Machine and Pieter’s ex-girlfriend, fares slightly better but still feels underutilized. Her chemistry with Borg is palpable, but her character arc is cut short by the series’ abrupt ending.

The series’ attempt to blend the competitive world of acapella music with the gritty realism of Berlin’s underground scene is ambitious but ultimately falls short. The tonal whiplash between the high-energy musical numbers and the more grounded, character-driven moments creates a disjointed viewing experience that never quite finds its footing.

Director Todd Strauss-Schulson’s handling of the first two episodes sets the tone for the rest of the series—a tone that is unfortunately inconsistent. While he excels at staging the musical numbers, his direction of the comedic and dramatic scenes often feels flat. The pacing is uneven, with some episodes feeling rushed while others drag on without a clear sense of purpose.

The series’ attempt to explore themes of identity, belonging, and the pursuit of dreams is admirable but ultimately falls short due to its thinly plotted narrative. Bumper’s journey from washed-up musician to potential star is fraught with clichés and predictable plot points. His interactions with the other characters often feel forced, and his character development is stunted by the series’ abrupt ending.

The soundtrack, however, is a highlight of the series. The mashups are catchy and well-executed, with standout tracks like “Sweet Child O’ Mine” and “Kings & Queens” adding a much-needed energy boost to the otherwise lackluster narrative. The music arrangements by Deke Sharon and Ed Boyer are top-notch, showcasing the series’ strengths in a way that the plot and characters cannot.

The series’ reception has been mixed, with Rotten Tomatoes reporting an approval rating of 46% based on 13 critic reviews. Metacritic assigned a score of 46 out of 100 based on 5 critics, indicating “mixed or average reviews.” The consensus among critics seems to be that while the series has a surprising amount of heart, it ultimately fails to sustain its thin premise for long enough to make a lasting impact.

Pitch Perfect: Bumper in Berlin is a series that tries too hard and lands nowhere near its mark. While it has moments of brilliance—particularly in its musical numbers and Flula Borg’s standout performance—the overall experience is marred by weak character development, forced humor, and an inconsistent tone.