Detailed Instructions: In this task, you are given a text of many news articles seperated by special token "|||||". Your task is to summarize them.
Problem:Hall Pass 
  
 'Hall Pass' review: Owen Wilson and Jason Sudeikis star in Farrelly brothers beer commercial 
  
 Iovino/Warner Bros 'Hall Pass' stars Owen Wilson (r.) and Jason Sudeikis (l.) as two boy-men who get a free pass from their wives. 
  
 With Owen Wilson, Jason Sudeikis. Comedy about bored middle-aged husbands. Directors: Bobby Farrelly, Peter Farrelly (1:45). R: Nudity, sexuality, language, crude humor. At area theaters. 
  
 Ever catch yourself thinking, "Man, I wish beer commercials lasted just 104 minutes longer"? 
  
 The Farrelly brothers are ready to make your dreams come true. 
  
 At this point, we're so well-conditioned by ads and Judd Apatow movies that it almost seems reasonable to believe two clueless boy-men like Fred (Jason Sudeikis) and Rick (Owen Wilson, the cast standout) would be married to pretty, endlessly patient Grace (Christina Applegate) and Maggie (Jenna Fischer). And, that they freely ogle every other woman in sight while out with their wives. 
  
 So, naturally, there's no reason to doubt anyone's sanity when the ladies become so scared of losing their spouses, they suggest a "hall pass" — one week off, in which the guys can do whatever they want. 
  
 And what do these self-deluded wanna-be studs do? 
  
 Exactly what you'd expect: golf, eat "naughty" brownies and make perpetual fools of themselves, with the complete encouragement of their equally moronic buddies (including Stephen Merchant and J.B. Smoove, both underused). 
  
 As the recent rush of guys-gone-wild comedies proves, there's always room for another wish-fulfillment fantasy. But most of the time, the Farrellys play things as safe as possible — an ironic choice for a movie that pretends to be about taking risks. 
  
 The best laughs are the sharpest, as when the brothers take wicked swipes at suburban conformity and middle-aged frustrations. 
  
 But these are just brief distractions from the generic lessons to be learned about the importance of loyalty and love and making sure you don't alienate any members of the ticket-buying public. 
  
 What a strange turn of events for filmmakers once celebrated for pushing the limits of popular culture. But as you watch their latest, with its desperate gross-out jokes replacing actual edge, you'll remember that "There's Something About Mary" was 13 long years ago. 
  
 What's most ­depressing isn't the laziness of the Mars/Venus setup, in which men and women don't just occupy different planets but unrelated galaxies. And it's not the frantic, scattershot script, which seems designed to appease a thousand focus groups. What's depressing is the realization that Bobby and Peter Farrelly are no different from their confused heroes, stuck in a midlife rut they don't know how to escape. ||||| Maybe it's finally time for Peter and Bobby Farrelly , the filmmaking sibs who brought us the very salty treat of "There's Something About Mary," to give up on the raunch and give into the romance. After scoring big in 1998 with "Mary" — the zipper issue, the "hair gel" mix-up, the roving troubadours — their raw inventive edge has never been quite as sharp. "Hall Pass," starring Owen Wilson and Jason Sudeikis , continues that creative slide into everyday crude (because watching a guy poop in a sand trap is neither clever nor funny). Caught in a tug-of-war between the filmmakers' cleaned up conventional romance à la 2005's "Fever Pitch" and the grosser stuff found in 2000's split personality spoof "Me, Myself & Irene," the film is a messed-up mix of both.Wilson's Rick is a mostly happy guy, married with children. His biggest infraction these days is getting caught doing the occasional girl watching. Fred (Sudeikis) is his best friend, also married, also with the roving eye problem.Their wives — Jenna Fischer 's Maggie is paired with Rick, Christina Applegate 's Grace with Fred — are fed up. But after a consulting their friend, relationship guru Dr. Lucy ("The View's" Joy Behar ), instead of getting mad, the girls give the guys a "hall pass" from marriage — seven days to do what they please with whomever they please with no guilt or punishment in the offing.To cheat or not to cheat, that is the question. But is it cheating if the wife approves in advance? Maybe that's the question. Regardless, after the pass is issued, the dilemma becomes trying to figure out where to find someone to seduce. The shape of things to come is laid out when Rick and Fred's contingent of envious buddies wonder whether Olive Garden or Applebee's has more chicks on the prowl.While the guys try to remember how to be players, the girls head to the Cape and find a little action of their own.Temptations do come along, and that is where the comedy should come alive. Mildly amusing or marginally offensive is about as good as it gets. For Rick, there's the baby sitter (Alexandra Daddario) he wants to avoid and the barista (Nicky Whelan) he might like to bed. For Fred, there are the leftovers. Then along comes trouble in the form of Richard Jenkins ' playboy, their guide to the club scene where everything really gets "crazy" (A: Those are sarcastic air quotes, and B: I really hope this very fine actor got paid bookoo bucks to suffer the indignities, and the tan, required here).Given the guys' tendency to get sidetracked by all-you-can-eat specials, it doesn't take much for them to veer off course. The wives are doing much better at the Cape. There's a minor league baseball team in town with some major talent. Flirtations ensue, soul-searching follows. Can epiphanies be far behind?The screenplay by Pete Jones , Kevin Barnett and the brothers throws a lot of balls up in the air. The directors do better juggling some than others. Though Wilson and Sudeikis are the center of attention, the film is often more engaging when Fischer and Applegate's characters begin digging through their problems.Meanwhile, Sudeikis, an "SNL" fixture, apparently drew the short straw. He's saddled with most of the dirty business of talking trashy.Director of photography Matthew F. Leonetti, who last worked with the Farrellys on 2007's "The Heartbreak Kid," has given the film a warm and cozy look. It starts with the very charming scene that has Rick reading to his kids on a very comfy couch.Comfy is exactly the vibe that Wilson gives off pretty much all the time. He has a self-deprecating appeal that tends to make even his quirkiest characters in the most forgettable films embraceable. For all the off-colors they wave, the Farrellys have a winning sentimental side too. It's time for them to get past their Peter Pan potty-mouth days. ||||| The bodily fluids that Peter and Bobby Farrelly let fly and sometimes squirt in their movies, along with the assaults visited on their hapless male characters and those men’s various body parts, might suggest that these filmmaking brothers are stuck in a developmental quagmire. They don’t just like to play around in human messes, those both ickily literal and situational; they also revel in them. Yet while all this foul play can make you blanch, these excesses are affirmations of the humanity that comes with the yuks. Their characters poop, therefore they are — or at least the guys are. 
  
 Like most of the Farrellys’ central male figures, the two in the brothers’ latest film, “Hall Pass” — Rick (Owen Wilson) and Fred (Jason Sudeikis) — are overgrown innocents if also adult, here with the middle-age paunch and wrinkles to prove it. They’re light-years ahead of the happy fools in “Dumb and Dumber,” as evidenced by their totems of conventional grown-up life: wives, children, unremarkable jobs, pleasant houses, sport jackets, pleated slacks, $10 haircuts and sensible cars. They live in a picture-perfect Nowheresville (with Georgia passing for Rhode Island and Cape Cod) where Rick sells real estate, and Fred peddles insurance. They’re nice, unremarkable, close to dull, even in their shared habit of cheering at the all-American parade of health provided by the young breasts and bottoms that swing by everywhere they look 
  
 Each is an attentive and practiced ogler. To the chagrin of his wife, Maggie (Jenna Fischer), Rick likes to make like Regan in “The Exorcist,” swiveling his head at whatever tasty item comes within view. For his part, the more timorous Fred takes mental snapshots of women for future reference and perhaps use, opening and closing his eyes like a camera shutter with comic exaggeration, as the movie freezes and starts, and his vocalized clicks fill the soundtrack. Like Maggie, Fred’s wife, Grace (Christina Applegate), doesn’t appreciate her husband’s goggling eyes. But men will be men, though the message here seems to be that boys will be boys, at least in American comedies, that longtime playground of the eternal man-child. 
  
 If this sounds uninspired, it assuredly is, yet the setup mostly turns out to be something of a diversionary tactic meant to throw you off the Farrellys’ real game plan. The story kicks in when a relationship guru (Joy Behar) suggests that the wives give their husbands a week off from marriage — a hall pass — which, after not much anguish, they do. Their decision isn’t believable, but the Farrellys have never let niceties like realism get in the way of their jokes. They’re oblivious as well to camera movement, blocking, lighting and all the filmmaking rest, remaining stubbornly visually unevolved, the monotony of the two shots, over-the-shoulder shots and master shots the visual equivalent of bad minimalist music. 
  
 Once the funny and not-so-funny start to flow, you might not care, though it would be nice if the Farrellys did care about the banality of their images, just a little. The laughs start percolating after the wives split, natch, and their husbands, accompanied by a troika of jesters — Gary (the peerlessly funny Stephen Merchant), Hog-Head (Larry Joe Campbell) and Flats (J B Smoove) — hit the singles scene, first by going to ... Applebee’s. They quickly move elsewhere only to end up in a postdinner stupor, an unpromising start to a week that finds them trolling more promising waters, including a coffee shop where a barista, Leigh (Nicky Whelan), flaunts a derrière admired by Rick and, to judge from the shots of her rear, the similarly awed filmmakers. 
  
 At one point the Farrellys have Ms. Whelan drop her top for the seemingly obligatory shot of bared and proffered breasts. She doesn’t appear uncomfortable obliging them. Hey, she has a speaking part in a Hollywood movie. Some women (and men) in the audience might feel less sanguine about this display, a cheesecake moment that arrives just when the story teeters toward unbearable sentimentality. In “Hall Pass” the Farrellys are exploring nominally adult realms, like marital fatigue and cheating, but too often these apparent good intentions get the best of them and their timing. Mr. Wilson, a naturally amusing screen presence, looks uneasy delivering relationship lines that could have been fed to him by Dr. Phil. He and the big-baby-faced Mr. Sudeikis were born to trade quips and suffer mutual comic humiliation. 
  
 The Farrellys aren’t the only contemporary filmmakers who have a tough time making marriage funny, even if it is heartening to see them try. And this movie is certainly an improvement over their last, an uncharacteristically malicious and sexist remake of “The Heartbreak Kid.” “Hall Pass,” unlike most American comedies without Katherine Heigl and a wedding dress, at least gives women almost equal time and space if, of course, not the good jokes. Once upon a time, in the 1930s and ’40s, wives (and exes) were funny, as in “His Girl Friday” and “The Awful Truth,” romantic comedies that found men and women negotiating, in between pratfalls and quips, the new equality between the sexes in what the philosopher Stanley Cavell has called “a struggle for mutual freedom.” 
  
 Did greater equality make women unfunny or does it now just seem that way to male comedy writers? Whatever the case, it’s dispiriting that the draggiest, soppiest scenes in “Hall Pass,” as well as the most disgusting gag, involve women. By contrast the biggest bellyaching laugh pivots on a scene in which Rick has to be rescued (like a girl!) from a hot tub by two very differently endowed naked men. The sight of Rick recoiling from a stranger’s monumental penis encapsulates in one raucously comic, shocking, concise image many of the male anxieties that ripple through this movie and in the larger world. 
  
 Yet how much more potentially subversive that moment might have been if Rick had instead stared, really stared, at that other font of male anxiety, that which can scarcely be mentioned much less seen in American movies (except for gross-out effect, as in “The Heartbreak Kid”), that true chamber of secrets: a vulva. 
  
 “Hall Pass” is rated R (Under 17 requires accompanying parent or adult guardian). Gun violence, coarse language, bodily fluids and equal-opportunity full-frontal nudity. 
  
 HALL PASS 
  
 Opens on Friday nationwide. 
  
 Directed by Peter Farrelly and Bobby Farrelly; written by Pete Jones, Peter Farrelly, Kevin Barnett and Bobby Farrelly, based on a story by Mr. Jones; director of photography, Matthew F. Leonetti; edited by Sam Seig; production design by Arlan Jay Vetter; costumes by Denise Wingate; produced by Bradley Thomas, Charles B. Wessler, Peter Farrelly and Bobby Farrelly; released by Warner Brothers Pictures. Running time: 1 hour 45 minutes. 
  
 WITH: Owen Wilson (Rick), Jason Sudeikis (Fred), Jenna Fischer (Maggie), Christina Applegate (Grace), Nicky Whelan (Leigh), Stephen Merchant (Gary), Larry Joe Campbell (Hog-Head), J B Smoove (Flats), Joy Behar (Dr. Lucy) and Richard Jenkins (Coakley). |||||
Solution:
The Farrelly brothers’ new film, Hall Pass, tells the story of two men given a week off from marriage. Don’t expect any surprises: “The Farrellys are exploring nominally adult realms, like marital fatigue and cheating, but too often these apparent good intentions get the best of them and their timing,” writes Manohla Dargis in the New York Times. Plus, they’re “oblivious to camera movement, blocking, lighting and all the filmmaking rest.” “Ever catch yourself thinking, ‘Man, I wish beer commercials lasted just 104 minutes longer?’" asks Elizabeth Weitzman in the New York Daily News. “The Farrelly brothers are ready to make your dreams come true.” The film continues its directors’ “creative slide into everyday crude (because watching a guy poop in a sand trap is neither clever nor funny),” notes Betsy Sharkey in the Los Angeles Times. “For all the off-colors they wave, the Farrellys have a winning sentimental side, too. It's time for them to get past their Peter Pan potty-mouth days.”