“This just keeps getting weirder and weirder,” one of the lead characters named Morris remarks as if commenting on the film itself. Bad Cupid primarily centers on a hapless young man Dave (Shane Nepveu) whose Pound Puppy-esque demeanor matches his perpetual pining for his ex Denise (Christine Turturro) who unexpectedly dumped him one year ago and has ignored him ever since. His boisterous and sexually adventurous cousin Morris (Briana Morin) tries to help him move on, but when Dave learns that Denise is marrying someone else, he descends into despair.
These plot threads are familiar to the romantic comedy, but Bad Cupid subverts the genre and descends into lunacy when John Rhys-Davies appears as a cankerous, foul-mouthed Cupid who is not an adorable angel baby but a schlubby, middle-aged man named Archie sent from above (or below?) to teach the hopeless romantic Dave a hard lesson about unrequited love. The legendary Rhys-Davies is, of course, absolutely hilarious as the jaded god of desire annoyed with his mythical responsibilities.
Nepveu and Morin carry the first half of the film with their incredible performances. The actors nimbly express the humorous juxtapositions of their characters and handle the witty, rapid-fire dialogue with ease. Morin in particular is a phenomenal talent; her sharp wit and vibrant demeanor stand out the most.
Bad Cupid has lovely exterior shots of the quaint Buffalo setting and goes on a brief detour to a Las Vegas casino where Dave meets Stella (the coy Amelia Sorensen), a pretty girl who eats chocolate cake and has sex with him after meeting him briefly in line—oh, and she just happens to also be from Buffalo. Yet despite their hookup, Dave still cannot shake his desire for (more like obsession with) Denise.
When the cousins return to Buffalo, they discover a bound and gagged suit-wearing man in a bar bathroom and from there Bad Cupid spirals into wildness. In between hyper and comical set pieces, the foursome ends up discussing the idealization of love and the dismal reality of fractured relationships. Bad Cupid builds to a farcical ending that not only parodies Cupid mythology but also the grandiose gestures found in romantic comedies.
Despite its cynicism and the title’s winking naughtiness, there is an appealing sweetness to directors Diane Cossa and Neal Howard’s film. Other creative highlights include the bouncy soundtrack and charming animations interspersed throughout. Bad Cupid explores the irrational instability of romance with supreme intelligence and cutting humor. It should not be missed, especially as a Valentine's Day watch.