Please Don’t Destroy: The Treasure of Foggy Mountain (2023)
Director: Paul Briganti
Screenwriters: Martin Herlihy, John Higgins, Ben Marshall
Starring: Martin Herlihy, John Higgins, Ben Marshall, Conan O’Brien, John Goodman, Bowen Yang

October 9th, 2021. The first episode of the forty-seventh season of ‘Saturday Night Live’ and the debut of Please Don’t Destroy with their short video ‘Hard Seltzer.’ Consisting of three New York comedians, Ben Marshall, John Higgins, and Martin Herlihy, the troupe almost instantly skyrocketed to fame after only four years together as a group. Now, after three seasons with SNL, the trio bring us their first feature film Please Don’t Destroy: The Treasure of Foggy Mountain. SNL stars like Dan Aykroyd, Eddie Murphy and Tina Fey have all gone on to bigger things, though the results are not always so pretty – some acts have failed to make a splash and some sketches that were turned into films have flopped. So the question is, how will Please Don’t Destroy fair?

The film stars the three comics as themselves, the exception being that they live, work and do everything together. When they realise that they don’t like their life trajectory, they set off to find a gold treasure that is rumoured to be buried in the nearby mountain.

Unlike the fictional versions of themselves in the film, it is clear that the trajectory of the boys’ popularity is one that not only they believe in, but in which many others do too. After only three years on the show, they earned a credit in SNL’s opening montage. Credited as “A Film by Please Don’t Destroy”, it marks the first time since 2008 that a recurring segment has its own credit in the opening; a reward that was not even afforded to the insanely popular The Lonely Island. Equally so, the opportunity to write and star in a film as themselves shows the belief that many have in the popularity of Please Don’t Destroy.

The movie opens with a narration from John Goodman explaining the lore of the titular treasure; a bust of Marie Antoinette, worth $100 million, was hidden in Foggy Mountain by French explorer Jean Pierre La Roche and the key, a golden compass, was found by the three boys as children. Flashforward fifteen years and we meet the Ben, John and Martin of today through a sequence in which they prepare to make breakfast and go to work, a sequence of events which continuously takes hilarious left turns including roller skates and underage drinking.

The film then smash cuts to Ben’s father in the form of Conan O’Brien, the owner of the store that the three work at, screaming “where the fuck were you!? You’re three hours late!” The story begins to unravel. We learn that Ben wishes to earn his father’s approval and take over the store, whereas Martin is trying to keep his girlfriend happy by going through with an adult baptism. As for John, he has no plans nor prospects. Worried about losing his friends, he proposes that they hunt for the treasure.

The story, in premise, structure and character development is far from original. The friendship of the three is predictably tested, and there comes a point where it seems as though they can’t move past their issues but in the end they remain best friends. It’s a tried and tested formula that, though not necessarily bad, is instantly recognisable. Ben, John and Martin’s sense of humour is far from traditional and so, to deliver it in the form of a traditional story allows for more accessible viewing for new viewers, all the while keeping much of the same humour that fans have come to know and love.

Similar to the writing and performance style they have become known for, the editing of the film is very in line with that of their regular sketches. Fast paced and manic, the editing allows for maximum engagement and a whole lot of laughs through unexpected sight gags and jump cuts.

By far the biggest challenge for PDD in this film was to take their style of comedy (which is usually told in three to five minute sketches) and stretch it out into a full feature film. Though there are little segments of the film that feel like their own individual sketches, they keep recurring and eventually combine together to tell a nicely intertwined story. From park rangers who wish to steal the treasure for themselves to cults, or John falling in love to a particularly sassy hawk, all of these come together well to tell the full story. It is in this sense that Foggy Mountain feels closer to traditional silent comedies like Harold Lloyd’s Safety Last, a film that similarly tells many little stories in order to make one complete narrative.

This film does not, however, feel as though it will work for those who are not familiar with Please Don’t Destroy or who are not fans of that type of humour. The group’s eccentric form of delivery, performance and writing may distance some audience members. The Treasure of Foggy Mountain is a movie made for the fans.

With their feature film debuts, Ben Marshall, John Higgins and Martin Herlihy bring their A-game in every single aspect of production. The jokes come quick and fast, and the situations they put themselves into are nothing short of ridiculous. Playing themselves, the three bring their likeable personalities and adorable chemistry to craft a trio of characters that are not only hilarious but who we care for and whose company we love to be a part of. Though every cast member does a fine job, it is when one or all of Please Don’t Destroy are on screen that we laugh the hardest. Moreso, they make it seem natural, as though comedy is second nature to them.

With The Treasure of Foggy Mountain, Please Don’t Destroy may not be making unforgettable characters or legendary films like fellow SNL alum movies The Blues Brothers and Wayne’s World, but by presenting themselves as the heroes of the story they create a movie that represents their brand and elevates it in the process.

The Treasure of Foggy Mountain is a wonderful new addition to PDD’s growing library, and is evidence of their popularity and talent. Proving themselves as one of the best comedy acts in all of the United States – better yet, the world – one can only hope that their sophomore effort will be as good as Foggy Mountain.

Score: 18/24

Ambient applause is heard from somewhere. There’s a band playing a royalty-free knock-off of the Saturday Night Live theme. There’s pan to a face-on view and zoom to a man at a desk.

Moderator Jacob: Hello, and welcome to the debate you’ve been waiting for: Does Black Panther deserve to be a Best Picture nominee? Joining me today are two parts of one mind. Please welcome Fun Jacob-

The camera cuts to an angle towards stage right, Fun Jacob waves to the readers. The camera cuts back to the face-on view

Moderator Jacob (cont.): -and Devil’s Advocate Jacob.

The camera cuts to an angle towards stage left. Devil’s Advocate Jacob gives a forced smile and gives an acknowledging nod to the readers. You’ll just have to assume these cuts from here on out because I’m not writing direction with every change in the conversation. Use your imagination.

Moderator Jacob: Gentlemen, thank you for joining me for this deb-

Devil’s Advocate Jacob (interrupting): Oh, excuse me, I take issue with the Devil’s Advocate label.

Moderator Jacob: I’m sorry, what would you prefer?

Devil’s Advocate Jacob: I’d like to be referred to as Cynical Jacob. I’m not just being contrarian, I genuinely disagree with the nomination.

Moderator Jacob: Fair enough. With that out of the way, Fun Jacob, why don’t we start with you?

Fun Jacob: Thank you, and also I appreciate you allowing me to join this discussion. I think the best place to start is with the argument from cultural impact. Black Panther is the highest-grossing superhero movie that isn’t an Avengers film. Everyone saw it. Everyone was writing about it, talking about it. There were fundraising campaigns to send kids to go see it. Athletes from many sports and countries throw up the Wakanda salute in celebration of on-field achievement. You can read tons of pieces discussing the impact Black Panther had on black communities, the best being Carvell Wallace’s New York Times Magazine article. Black Panther is an unabashedly black film that is accessible to all audiences. The director is black, most of the cast is black, both writers are black. Nominating it for Best Picture can’t undo centuries of racial atrocities in America, but it can be a sign of appreciation for black achievements in film if nothing else.

Cynical Jacob: Absolutely, the impact cannot be discounted. We’ve seen white superheroes and white directors and mostly white casts. As a white man, it’s hard for us to comprehend just what Black Panther really means for black people everywhere, especially in America. I don’t want to downplay that at all. However, is cultural impact the mark of Best Picture?

Moderator Jacob: Well are we discussing Best Picture, or Best Picture nominee? There’s still time to go back and edit this.

Cynical Jacob: What’s the difference? All of the films have a chance to win, why nominate a film merely to recognise it? Why not put Ryan Coogler in the Best Director category? Or Michael B. Jordan in Supporting Actor? Or stick with that Popular Film category that disappeared out of nowhere? I think there’d be a better chance of winning in each of those categories.

Cynical Jacob (continuing, directed at Fun Jacob): Do you think Black Panther should win?

Fun Jacob: That’s not up to me-

Cynical Jacob (interrupting): I know it’s not up to you. And if it was, I think you’d agree with me. Can you name some previous Oscar winners for me?

Fun Jacob: “https://en.wikipedia.org/wiki/Academy_Award_for_Best_Picture#Winners_and_nominees”

Cynical Jacob: Well let’s just start with last year’s winner, The Shape of Water. What was its cultural impact?

Fun Jacob: I think given the climate in Hollywood around that time, as the Harvey Weinstein allegations occurred around the time of the film’s release, to literally have a voiceless woman attempting to stand up against forces stronger than her was a rather fitting and powerful. I think The Shape of Water impacted culture unintentionally that way.

Cynical Jacob: But is that really cultural impact? The Me Too movement wasn’t sparked by the film. And how many people had another Best Picture darling much nearer and dearer to their experience like Call Me By Your Name or Lady Bird? What about Birdman’s cultural impact? Or The Artist? That was a big one, huh? This isn’t the Most Culturally Impactful award, this is Best Picture, and I don’t even think Black Panther is even the best film by a black filmmaker from 2018.

Moderator Jacob: Well, Cynical Jacob, what is it about Black Panther that keeps it from being a Best Picture nominee?

Cynical Jacob: First of all, it’s very much a stock Marvel film. Ryan Coogler called it his “most personal film to date,” but I didn’t see much of that reflected in the film. Despite bringing in the same cinematographer, Black Panther lacks the intimate visual feel of Fruitvale Station. Everything is bigger, the film moves around a lot. I was especially bothered by the final fight sequence; not only was it reminiscent of the ending of The Phantom Menace, it also has Black Panther fighting Black Panther, and hero versus slightly different version of that hero is a Marvel staple.

Fun Jacob: But up until that point, Killmonger is more than just a Black Panther clone. He was Marvel’s best villain for a couple of months. His backstory is tragic and we have a lot of empathy for him as a character. And Michael B. Jordan is always great playing a confident, swaggering character.

Cynical Jacob: I’ll grant that Killmonger is a step up from most Marvel villains, but does that alone elevate this to Best Picture? Vulture was really good too, should Homecoming have been in consideration?

Fun Jacob: What about the production design? The costuming? A lot of work went into building the Afrofuturistic world. Ludwig traveled to Africa to work with musicians to help develop an authentic score that combines traditional orchestral elements, African instruments, and hip-hop to form a something wholly unique in the world of film.

Cynical Jacob: Maybe I painted with too broad of a brush by saying it’s a stock Marvel film, but I don’t think music and production design make a Best Picture. When it comes to narrative, I think Killmonger has a much more compelling story than T’Challa. There’s too much of Marvel’s need to be funny (especially with Shuri). And I really cannot emphasise enough that I think everything post-T’challa reincarnation is enough to disqualify it for Best Picture.

Moderator Jacob: Fun Jacob, I know you’re a fan of the themes in the film. Why don’t you talk about that aspect?

Fun Jacob: Well, we all know we’re fans thematic films. Black Panther is an incredibly strong thematic work. Wakanda is a futuristic society that’s in touch with its historical and spiritual roots. At the beginning, Wakanda is isolated, hoarding its technology from the outside world. Killmonger wants to share Wakanda’s technology with black people everywhere to fight back against historical and current oppression. Wakanda, to him, is obligated to the black community that exists outside of the forcefield that protects it. The film isn’t just about Wakanda, it’s about the greatness of black people. It’s about helping your community, celebrating your identity, and sharing pride in being black (an act that white America continues to frown upon both implicitly and explicitly).

Cynical Jacob: And that’s probably the best thing about Black Panther. I’m thrilled that there’s a film that is a celebration of being black. It’s a symbolic middle finger to rising racism and white nationalism in the US and Europe. However, are the best themes what make the best picture?

Fun Jacob: Well, no, of course not. But I don’t think any other film in the Marvel universe carries this kind of real thematic punch.

Cynical Jacob: But what about other 2018 films?

Fun Jacob: What about them? There are only eight movies nominated, there was room for Eighth Grade or The Old Man and the Gun. We’re really excited about BlacKkKlansman and Spike Lee making it. Can’t we just be happy about the good things and not bitch about the bad ones?

Cynical Jacob: Then half of our content for The Film Magazine wouldn’t exist.

Moderator Jacob: Cynical Jacob, do you have any other thoughts?

Cynical Jacob: After seeing all of our points laid out like this, I think I’ve come around. Black Panther is worth the nomination at most. Note to the Academy, you could’ve put two other great films in, too. Not necessarily the ones mentioned here, but it’s a shame that with all the incredible movies that came out this is the field for Best Picture.

Moderator Jacob: There you have it, folks. A concession from the most cynical portion of my being. I really did not see this coming. Thank you for joining me, and I look forward to having you read my strange debates with myself again.

Outro music plays, applause is heard, Jacob gets up from his computer and goes back to watching bad movies.

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