REVIEW: The Campaign

7 08 2012

Political satires are no cakewalk, and they require keen insight to even get off the ground.  ”The Campaign,” perfectly released into the silly season of a Presidential election year, is a pointed sendup of the antics of a post-Citizens United world where money can flow into elections like lava.  The message of writers Chris Henchy (who I still won’t forgive for “Land of the Lost“) and Shawn Harwell comes across loud and clear, although it lands without the strength of Will Ferrell’s punch that socks a baby.

While the satire may be sharply pointed, its impact is severely dulled by crude, sophomoric humor that is far beneath the intelligence of the ideas being expressed.  It stoops to pretty low lows – I’m talking like barely above the horrendously offensive “The Change-Up” – to provide entertainment for the masses … because heaven forbid they actually tried to level with moviegoers and not treat them like children!

Sadly enough, politicians have been providing enough inappropriate fodder for humor through gaffes and just plain idiotic behavior.  For example, in the summer of 2010, a joke where Will Ferrell’s cocky incumbent North Carolina Congressman Cam Brady sends a salacious picture to a mistress on Twitter, it would have just been laughed off as something Frank the Tank would have done in “Old School.”  Now, it’s a boneheaded move ripped from the real-life disgrace of Representative Anthony Weiner.  You stay classy, Washington.

Nevertheless, the jokes aimed straight at the heart of our nation’s capital are few and far between in the movie.  The means employed to achieve the ends of “The Campaign” distract from the real lunacy it’s trying to expose to the audience.  The fact that a few billionaires can put their puppet into play for a seat in the House of Representatives with just a few checks and a political consultant who knows what polls best in every category is probably not even that far-fetched a thing to happen off the screen.  They could probably even do it with somebody dumber than Zach Galifianakis’ Marty Huggins, the pug-loving village idiot!

No one is going to come out of “The Campaign” talking about the antics of the corrupt; they are going to come out talking about the antics of the comedians.  The movie becomes about what ridiculous lengths Brady and Huggins go to – and they go to ridiculously taboo extremes – in order to beat each other, not about what ridiculous system allowed this situation to become feasible.  It’s the billionaires, stupid.  While we’re on the topic of political slogans, the buck starts here, there’s nothing you can believe in, and no they couldn’t.  C+





REVIEW: Horrible Bosses

6 07 2011

We are now inhabiting the post-”Hangover” world, and in case you needed any proof that studios are looking to locate the success gene in the hit comedy’s DNA, I submit “Horrible Bosses” as evidence.  It really shouldn’t surprise you; it’s a page straight from the television networks’ playbook.  As soon as Fox premiered “American Idol,” every network wanted a singing competition.  After ABC had a big hit with “Dancing with the Stars,” every network suddenly had a dancing show.  We live in a culture of thinly veiled rip-offs that barely bother to disguise their ever-so-slight variations from the original success story.

The good news for Seth Gordon and the “Horrible Bosses” team is that, at least at this moment, I still find the formula amusing and funny.  The next movie shamelessly pressed from the “Hangover” mold, however, will probably not be in my good graces, so at least they got the timing right on this one.  But the fact that some movie other than the sequel has tried using a similar blueprint for high cash and laugh returns signals a foreboding era in comedy.  (Then again, I said the same thing last summer about “Iron Man 2” being the first of many “The Dark Knight” rip-offs, and nothing seems to have materialized there.)

The film invites these comparisons by using what may be the most recognizable aspect of “The Hangover” for laughs – the Wolfpack.  From now on, any comedy that has a ragtag alliance of three thirtysomething guys will inevitably have to be measured against the ridiculously high standard set by Bradley Cooper, Ed Helms, and Zach Galifianakis.  Unfair?  Probably.  Justified?  Definitely.

Read the rest of this entry »





REVIEW: Hall Pass

4 07 2011

It’s a shame that “Hall Pass” doesn’t have a less contrived script or a bit more maturity.  If it had these things, it would be one heck of a comedy.  But alas, it doesn’t, and what we are stuck with is a few decent laughs held together by a string of ridiculous events.

It could be worse, though, as Owen Wilson and Jason Sudeikis play off each other pretty well.  Their sex-crazed babbling combined with a blooming barely-adolescent brain and the libido of a retirement home patient re-entering the game is absolutely outlandish.  Yet as childish as practically every line and situation was, I would find myself chuckling in spite of it, mostly along with Sudeikis.  Maybe it’s because he’s used to finding nuggets of gold inside of crap at “Saturday Night Live,” but whatever it is, the man is some kind of funny.   Wilson, on the other hand, feels past his prime with humor quality receding almost as precipitously as his hairline.

But these two hopeless husbands get a chance to live out their dreams in order to relieve their woebegone wives (played by Jenna Fischer and Christina Applegate).  In the words of Joy Behar, it’s a “hall pass.”  The movie never really cashes in on the high concept, just as Wilson and Sudeikis’ helpless sex drive leads them nowhere while their wives, in the words of Justin Timberlake, “get their sexy on.”

The stupid shenanigans distract from anything meaningful that “Hall Pass” might have to say about marriage.  I’m doubting there actually was anything in the way of commentary as the characters sure don’t seem to have any scruples about the messed-up events of the movie.  It’s definitely a far cry from The Farrelly Brothers’ “There’s Something About Mary.”  As for the conclusion of this review, I’m not really sure whether to steer you towards or away from the movie: it’s just another middling, forgettable comedy that I couldn’t feel more ambivalently about.  C / 





REVIEW: The Bounty Hunter

1 09 2010

Have you ever watched a movie and wondered what could make an actor’s standards drop so low?  Even if you haven’t before, you will watching Gerard Butler and Jennifer Aniston slog through the miserable “The Bounty Hunter.” You may not have held either of these actors in the highest of regards anyways, but it’s easily a career low for both stars.

The movie is an action comedy – well, if you count Butler punching a few people as action and a few pity sneer as comedy.  We’ve never quite seen a plot like this, where exes fight with stakes as high as prison, but it never feels the slightest bit original.  In fact, it just feels like an old trip down Memory Lane, mimicking every sort of used gimmick with ex-lovers.  But boy, Memory Lane has never looked so run-down or shabby.  It’s time for some renovation.

It’s the typical “hate turns to love” romance story as Butler’s bounty hunter Milo gets to track down ex-wife Nicole, Aniston’s flighty news reporter who foolishly misses her court date over an article.  He finds her and begins hauling her to jail, and on their journey, they suddenly start to realize that they never gave their marriage a fair shot.  I’d call it a dumbed-down Stockholm syndrome, but something tells me the writers of this movie don’t even have the intelligence to use Wikipedia and look it up.

Don’t even mention the writers adding insult to injury by trying to add complexity to the plot by adding in other storylines.  Honestly, if anyone wants to spend nearly two hours of their life watching this movie, they want to see it for Butler and Aniston.  The last thing we want is to have our time wasted by anything that detracts from the main story – sorry, Jason Sudeikis, but you really stink here, and Lorne Michaels would fire you if you ever did anything this bad on “SNL.”  D /








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