Greetings again from the darkness. There is a reason musical acts like The Eagles, Jimmy Buffet, and The Rolling Stones continue to pack arenas. We love our nostalgia and prefer it familiar and easily recognizable. The fans don’t show up to hear the new songs, but rather those ‘oldies-but-goodies’ that bring back pleasant memories. Writer-director Jason Reitman and co-writer Gil Kenan fully understand this psychology as they deliver what amounts to a sequel of the original GHOSTBUSTERS movie released 37 years ago (and directed by Reitman’s father Ivan).
The hook in this updated version is that Callie (Carrie Coon), the adult daughter of original Ghostbuster Egon Spengler (originally portrayed by the late Harold Ramis), has been evicted from her apartment. She packs up the car and her two kids, and heads to the dilapidated farm house she inherited from the father she never knew. Callie has lived her life bitter and hurt that her father never reached out, choosing instead to isolate himself in Summerville in the “middle of nowhere”. Her kids are Trevor (Finn Wolfhard), an awkward teenager, and Phoebe (a stellar McKenna Grace), a science whiz who seems to be a near-clone of the grandfather she never met.
As they adjust to a new life, Trevor swoons over local girl Lucky (Celeste O’Connor), while Phoebe befriends another outcast self-named Podcast (Logan Kim), and Callie gets closer to Gary Grooberson (Paul Rudd), a Seismologist “teaching” summer school with help from some age-inappropriate movies on VHS. As great as Coon and Rudd are (and both are great), the real fun comes from the youngsters exploring grandfather’s workshop and the mysterious mountain at the edge of town, which is actually a long ago abandoned mine run by the town’s founder.
Supporting actors include Bokeem Woodbine, JK Simmons, and Tracy Letts. Many of the elements will seem familiar as the kids begin to uncover the ghostly creatures unlocked thanks to Grandpa Egon’s research and tools. As with the original, busting the ghosts is fun, but it’s the one-liners and crackling dialogue that make this a joyous ride from beginning to end. A battered Ectomobile (Ecto-1) plays a key role, as do ghost traps, crossing streams, and a new generation of Stay-Puft Marshmallows.
Jason Reitman is a two-time Oscar nominee for UP IN THE AIR (2009) and JUNO (2007), but it seems clear his mission here was to provide a fitting tribute to the original film, his father, and the late Harold Ramis. He’s assisted along the way with some special effects and even more special appearances, though the missing Rick Moranis is notable (and expected). The original blockbuster spawned sequels, re-boots, toys, an animated series, video games, documentaries, and now … another sequel (one that mostly disregards everything but the original). There is a Spielberg feel as the scene is small town instead of NYC, and perhaps with this family-friendly focus on the kids, the best comparison might be THE GOONIES. It’s nostalgic, yet new and fresh, and we do get a look at Hook and Ladder #8, and the familiar tune of RayParker Jr’s iconic theme song. Hang on for the mid-credit and post-credit scenes, and just remember to take this for what it is … a rollicking good time.
Greetings again from the darkness. In what was originally titled “Avengers: Infinity War Part 2”, we get the much-anticipated conclusion to the most recent 22 Marvel Cinematic Universe (MCU) films … specifically Phase 3. Regardless if you are a deep-rooted fanboy or a casual viewer, you likely know the questions heading into this finale:
Can the Avengers defeat Thanos?
What role will Captain Marvel (and her pixie haircut) play?
Will those who died in AVENGERS: INFINITY WAR be brought back to life?
Will Tony Stark/Iron Man make it back from drifting in space?
Who will survive this final battle?
We knew this one had to be big, and in fact, it’s colossal/humongous/monumental … whatever your preferred adjective might be. And you can rest easy knowing that all of the above questions are answered quite clearly in this 3 hour epic from co-director brothers Anthony Russo and Joe Russo and co-writers Christopher Markus and Stephen McFeely (the same directors and writers behind AVENGERS: INFINITY WAR and a few other MCU entries).
Marvel has excelled over the past decade plus by combining interesting characters, understandable story lines, visually stunning effects, and clever humor. This finale offers all of that and more. In fact, it’s difficult to imagine a more perfect ending to this galactic odyssey … and I don’t offer that praise lightly. From the use of Traffic’s classic “Dear Mr. Fantasy” and a gut-wrenching opening scene that yanks us right back into that feeling of dread provided by ‘Infinity War’, we know we are in for a ride that is quite a bit more somber and even more emotional than what we’ve come to expect.
The fallout from the Thanos snap is clear as we catch up with Black Widow, Captain America, Thor and Hulk. Each is dealing on their own terms, and while the Banner-Hulk merger is quite something to behold, trust me when I say, you’ve never imagined seeing Thor in his current state. This marks Chris Evans’ 10th film as Captain America, and he is front and center through much of the film – as is, in a bit of a surprise, Karen Gillan as Nebula. It makes sense given her tie to Thanos, and Ms. Gillan holds up quite well in the spotlight.
Since the previous and speculation has been on time travel and the Quantum Realm, brace yourself for a bit of convoluted talk about how that works, but that’s the closest thing to a negative I have to offer – and even that is offset by numerous punchlines at the expense of BACK TO THE FUTURE and most every other time travel movie ever made.
The theatre was packed with Dallas area critics and industry folks, and there was a significant amount of cheering, applauding and more than a few sniffles. Yes, this one will take you on an emotional journey as well as a visual one. It has a tough/emotional beginning and a tough/emotional ending. These are characters we’ve gotten to know over multiple films … and you should know just about every major or mid-major character from every Marvel film makes an appearance, as do numerous minor ones. It’s quite a remarkable reunion. And yes, the brilliance of Tilda Swinton as The Ancient One more than offsets the Pepper Potts scenes.
Creator Stan Lee does get his final posthumous cameo (good for more applause), and there is a ‘women’s movement’ moment that seems to be Marvel’s “we hear you” statement. Much of what we see is “inevitable”, but as the Avengers assemble this last time, we are there to laugh, cry and gasp. This is what happens when ‘over-the-top’ is ‘just right’.
Greetings again from the darkness. The mystery of why Ant-Man was not involved with the battle for the galaxy in AVENGERS: INFINITY WAR has been solved as director Peyton Reed returns to helm the sequel to his 2015 hit ANT-MAN. The reason is very simple: Scott Lang/Ant-Man was under house arrest for his role in CAPTAIN AMERICA: CIVIL WAR. Yep, an ankle monitor sidelined this superhero for the biggest, baddest clash with Thanos. Somehow, this seems fitting for the most “normal” and grounded of all the Marvel characters, as Scott (Paul Rudd) is just a guy trying to overcome his petty thief tendencies while becoming a better father.
The story picks up two years after “Civil War” and Scott has only 3 days of house arrest remaining. An unusual “dream” is the cause of his reluctant reunion with Dr. Hank Pym (Michael Douglas) and Hank’s daughter Hope (Evangeline Lilly). A remarkable laboratory (quite the sight-gag), that could also be carry-on luggage, is the source of Hank and Hope’s mission to bring back mother Janet (the original Wasp, Michelle Pfeiffer) from the Quantum Realm.
It’s at this point, if you are a Marvel Universe fan, that you might ask yourself … so the story is about trying to save one person who has been gone for 30 years? Yes, that’s a bit less pressure than being charged with saving the galaxy, which is common occurrence in other Marvel films. Look, this isn’t rocket science. Umm, well, it’s quantum physics, which is way more complicated … but the point is, Ant-Man is the Marvel fluff piece. Its purpose is to be light-hearted and entertaining, rather than burdensome and ominous.
There may not be an overabundance of depth to the story, but it is overflowing with entertainment value. There are four new writers (along with Mr. Rudd) for this sequel, and they offer up a nice blend of personal redemption, crazy action sequences, and heart-felt emotion. The villains aren’t even all that bad. Walton Goggins (“Justified”) is Sonny, a greedy dude who just wants the other-worldly Pym technology, and Ghost (Hannah John-Kamen) is after that same technology, but only for self-preservation. Her own molecules are separating, causing a fast track to death – despite the help of Hank’s old partner, played by Laurence Fishburne.
The age-reversing effects we saw on Michael Douglas in the first ANT-MAN are also used this time on Mr. Fishburne and Ms. Pfeiffer. It’s quite something to behold. Michael Pena returns as Scott’s motor-mouthed partner, and he displays some pure comic genius in the truth serum scene. Randall Park plays the hapless FBI agent in charge of keeping track of Scott, but it’s Abby Ryder Fortson as Scott’s daughter Cassie who steals every one of her scenes … and possibly sets the stage for the Ant-Man franchise to carry on to the next generation.
Only a certain level of seriousness can be attained for a movie that blasts “The Partridge Family” theme song “Come On, Get Happy”. Or that awards Paul Rudd with a certain trophy designation. Or that has a character scream “You got Pezzed!”. However, a level of respect is earned with some terrific action – giant and tiny – as well as an exceedingly creative chase scene through the streets of San Francisco. There is a post-credit stinger that ties the film into AVENGERS: INFINITY WAR. It’s brilliant, but also caused quite the outburst from my fellow viewers. If you enjoy playful and amusing (and you should), then the team of Ant-Man and The Wasp (comedian and straight man/person) will put a smile on your face – just watch out for the seagulls!
Greetings again from the darkness. World War II. Baseball. Spies. A true story. Assemble all those pieces and you have Morris “Moe” Berg. Director Ben Lewin (THE SESSIONS, 2012) brings the fascinating story to the big screen with Robert Rodat’s (Oscar nominated for SAVING PRIVATE RYAN) screenplay adapted from the 1994 biography “The Catcher was a Spy: The Mysterious Life of Moe Berg” written by Nicholas Dawidoff. This is neither your typical spy movie nor your typical baseball movie.
Background information is provided by pre-movie title cards: in 1938 German scientists split the atom for the first time, ushering in the nuclear age; renowned German physicist Werner Heisenberg (1932 Nobel Prize winner) was charged with building an atom bomb; the United States responded by sending a baseball player to assassinate him. It’s 1944 Zurich and two men exchange uncomfortable glances across a dimly lit room.
We then flashback 8 years to see Moe Berg utilizing his gut instincts to survive as a veteran journeyman catcher for the Boston Red Sox at Fenway Park. We later learn his sixth sense is not limited to the baseball diamond, and is used in situations much more important than whether a baserunner is stealing a base. Growing up Jewish, Berg had always been somewhat of an outsider, admitting, “I don’t fit in.” In baseball, they called him a walking enigma. Educated at Princeton, Columbia and Sorbonne in Paris, Berg spoke several languages, had a ‘fake’ wife, was a regular on quiz shows, and was constantly followed by insinuations of homosexuality … though he only admitted to being good at keeping secrets.
Berg’s is a truly fascinating story, but unfortunately Paul Rudd is a bit overmatched in the lead role. He just doesn’t quite have the dramatic acting chops to convey the intellectual depth of the man. However, the rest of the cast is stellar: Paul Giamatti (as Samuel Goudsmit), Connie Nielsen, Mark Strong (Heisenberg), Sienna Miller, Hiroyuki Sanada, Guy Pearce, Jeff Daniels (as William J Donovan), Tom Wilkinson (as Paul Scherrer), Giancarlo Giannini (a 50+ year career), and Shea Whigham (as Joe Cronin). Many of these are little more than cameos, and the choppy feel of the film’s flow prevents us from ever really connecting to characters.
An extended battle scene volleys from intense and well-filmed to slightly comical as Mr. Giamatti is forced to run and dodge bullets. The look, tone and color palette of the film is quite similar to Spielberg’s BRIDGE OF SPIES(another true story), though this current one pales in comparison, as director Lewin presents it as a “will he won’t he kill the guy?” scenario. Berg’s story is likely more suited to documentary treatment, as his time with the U.S. Office of Strategic Services (OSS, later the CIA), resulted in his being awarded the Medal of Freedom. Upon his death in 1972, Newsweek’s headline read “3rd String Catcher, 1st String Spy”.
Greetings again from the darkness. Will Ferrell has been everywhere the past few weeks making promotional appearances as the golden voiced, perfectly coiffed Ron Burgandy. He clearly enjoys this character and is proud (deservedly so) of the franchise he created with business partner and director and co-writer Adam McKay. The first Anchorman: The Legend of Ron Burgandy was released in 2004 and nine years is an unusually long period to wait for a comedy sequel. But it’s not like either Ferrell or McKay need the money, and the golden rule of comedy … timing is everything.
The original movie has reached both classic comedy and cult status, and is one of the most frequently quoted movies from the past decade (“I’m kind of a big thing“). Having such a loyal following means guaranteed box office success for this sequel. So while I found this one somewhat lacking, the true Anchorman fans will embrace it … as proved by the loud laughter throughout the theatre. And in a movie year strong on drama and somewhat lacking in comedies, it’s nice to hear laughter again.
The gag to get the doofus gang back together centers around the 1980 development of fictional Global News Network – the birth of 24 hour news (and a lightly veiled reference to CNN). The Ron Burgandy gang is all back: Paul Rudd as Brian Fantana, David Koechner as Champ, and Steve Carell as Brick. Christina Applegate also returns as Veronica Cartright, though sadly she has very few scenes. Newcomers include James Marsden as Ron Burgandy’s professional competition and Meagan Good as the station manager. Kristen Wiig weirds out as the soulmate for Brick, and the bus load of cameos arrives for the gang fight at the end … kind of a spoof of the 1979 cult favorite The Warriors.
I will never criticize a movie that makes so many people laugh. However, I will admit to finding only a few giggles in the two hours (including the Dan Issel reference). It did strike me that many of the best jokes and gags would be difficult for anyone under age 35 to “get”. Period humor abounds. The best jab at the news industry occurs when Ron Burgandy says “Why do we need to tell people what they NEED to know? Why can’t we tell them what they WANT to know?”. That kind of approach would have fit the cerebral humor I could appreciate.
**NOTE: if you are somehow unfamiliar with Anchorman humor, know that nothing is off limits. There is plenty of humor based on racism, sexism, disabilities and most any other politically incorrect topic you can name.
SEE THIS MOVIE IF: you are fan of the first movie and/or Will Ferrell OR you want to see the most star-studded gang fight in movie history
SKIP THIS MOVIE IF: you are confused by the laughter of others brought on by such movies as Step Brothers, Semi-Pro, or Blades of Glory
Greetings again from the darkness. Though it’s billed as a comedy, you would be best prepared walking into expect a dramatic rom-com. The mere presence of Tina Fey and Paul Rudd (their first collaboration) could lead you to assume that it’s a slapstick comedy. Even though it isn’t, these two would elevate most any script and movie. They are inherently likable and talented, and that’s a lucky thing for director Paul Weitz (About a Boy).
The movie plays like a coming-of-age flick … not for the gaggle of high school students … but rather for Tina Fey’s character. She portrays a Princeton admissions officer named Portia Nathan, and it’s her job to weed through the files of thousands of over-achieving 18 year olds who are dreaming of attending the prestigious Ivy League school. Her serious approach to her work is complicated by a competition with her inner-office rival (Gloria Reuben) and by a going-nowhere relationship with boyfriend Michael Sheen (unrelated to their “30 Rock” relationship).
All of that sounds pretty straight-forward, so the story takes a left turn when Portia makes a campus visit to the Quest School, an experimental campus run by ultimate good guy John Pressman (Paul Rudd). Pressman is the guy who rebels against his privileged childhood and bounces from world-changing missions to life-altering experiences. His current stop as an administrator for a school filled with off-beat genius kids is focused on Jeremiah (Nat Wolff). Jeremiah is an autodidact (reads everything, self-taught) who was never understood by mainstream schools, but has his particular intelligence recognized at Quest.
So Paul Rudd approaches Tina Fey in hopes that she will take an interest in Jeremiah’s passion for learning and overlook his lack of satisfactory resume. There are also side-plots featuring a possible genetic link and a couple of strained maternal relationships from both Rudd and Fey, the latter’s mom played with zeal by Lily Tomlin.
There are no real surprises here, but the movie benefits from Fey, Rudd, Tomlin and the always fun Wallace Shawn. The whole elitist college admissions process is fascinating, but really impacts only a very small segment of society. The over-bearing parent aspect could be further analyzed from either a comedic or dramatic approach. Because of that, and the limited laughs offered by the script, it’s difficult to imagine the film gathering any real following … though here’s hoping Tina Fey and Paul Rudd work together again very soon.
SEE THIS MOVIE IF: you have been through the college admissions process OR you want to see Tina Fey and Paul Rudd wise-cracking as they share a shower
SKIP THIS MOVIE IF: you are in the mood for a slapstick comedy in the vein of Anchorman
Greetings again from the darkness. Brace for gushing. Upon attending a screening that included a fascinating Q&A with writer/director Stephen Chbosky, I was reminded of how personal and intimate and observant and incisive a well-made film can be. A well written script is so refreshing, and an exceptional script can be truly breath-taking. Mr. Chbosky takes the most unusual step of directing his own screenplay based on his own novel (a 1999 bestseller), and he left me stunned and enthralled, both onscreen and off.
The popularity of the novel would typically make the film version a disappointment for its fans. Not so this time. Mr. Chbosky remains true to the spirit despite the need to edit for the sake of pacing and brevity. The key characters spring to life thanks to the outstanding script and the four strong performances from young actors: Logan Lerman (Percy Jackson, The Three Muskateers) plays Charlie, Emma Watson (Harry Potterfilms) is Sam, Ezra Miller (We Need to Talk About Kevin, City Island) is Patrick, and Mae Whitman (“Arrested Development“) is Mary Elizabeth.
If you have read the book, you know the story … you know the characters … you know the themes. If you haven’t read the book, I will spoil nothing. The brilliance is recognized only as you get to know these characters and slowly uncover their stories. What we discover is that, regardless of our age, we recognize these characters from our high school days. We know the introverted, observant Charlie who so desperately needs a support system. We surely recognize the attention-starved, lacking in self-esteem Sam who is the epitome of “We accept the love we think we deserve“. And we all knew a Patrick … the flamboyant one who sheaths his pain with an over-the-top act of public confidence. What Chbosky does is shine the spotlight on these characters to ensure that we really SEE them this time.
The themes reminded me a bit of a darker John Hughes film (that’s a compliment). There were also pieces of two other really good films: Stand By Meand Almost Famous. The formative years of a writer determine the depths to which his or her work will reach later in life. Admittedly, the film is substantially autobiographical, so when Mr. Chbosky says it’s a personal story, we begin to understand the foundation of his remarkable writing style. He even utilizes music to help us get a better feel for this period of time … especially “Asleep” by The Smiths and “Heroes” by David Bowie. Watching the impact of the songs reminds us just what a powerful bookmark a particular song can be at a given moment in our life.
“Welcome to the island of misfit toys.” When this line is spoken, we realize that most every high school kid has thought the same thing at some point. These are painful and difficult times and as Mr. Chbosky stated, we should encourage kids to fight through this stage and get on to the next … then work to find their true self. Clearly, the film made a strong impact on me. My favorite reaction to a movie is profound thought, and this one caused it in waves. The decision to release as PG-13 was wise. There is no excess of profanity or nudity to divert attention from what really matters … the characters. I can think of no finer compliment to a writer and filmmaker than to cite them as the cause of my internal discussions related to their film. My hope is that you have the same reaction.
SEE THIS MOVIE IF: you are a fan of the book OR you believe that the high school years, in spite of how painful they might be, are formative years for helping us start the path to self-discovery
SKIP THIS MOVIE IF: you prefer teen movies be doused in slapstick rather than reality
Greetings again from the darkness. If you have seen the trailer, you might have the wrong impression. This is no laugh riot. Sure there is plenty of humor and you will laugh, but it’s not the slapstick goofy movie the trailer leads us to believe. Oddly enough, one could make the case that it’s actually a “message” movie.
Director Jesse Peretz has teamed with his writer sister Evgenia Peretz to dive into the often strained relationships between siblings – especially brother and sister, or in this case, brother and 3 sisters. There are numerous examples of how we often cheat or lie our way through life, or at a minimum, trick ourselves into believing (or not) certain things about ourselves and our loved ones.
The movie begins just like the trailer. Ned (Paul Rudd) is working an organic vegetable booth and is approached by a UNIFORMED police officer to buy some pot. Ned laughs it off until the officer says “It’s been a really rough week“. See, Ned is an incredibly nice and trusting guy. He always wants to help people and treat them kindly. This scene sets the stage … is Ned really an idiot or are we the idiots for not being as open and trusting as he? Once Ned is released early from jail (good behavior, of course), he naturally returns to the organic farm and his girlfriend of 3 years (Kathryn Hahn). To his surprise, he finds she has moved on to Ned’s apparent replicant Billy (TJ Miller). Even worse, she has no plans to let Ned take his beloved dog, Willie Nelson.
So Ned heads off to re-connect with his mom (Shirley Knight) and 3 sisters. Miranda (Elizabeth Banks) is a hard-driving career woman trying to break into the magazine writing world. She believes in stopping at nothing to nab a story, or even take advantage of her neighbor (Adam Scott). Liz (Emily Mortimer) is a dedicated Mom and frustrated wife married to Dylan (Steve Coogan), a documentary filmmaker and scoundrel. Natalie (Zooey Deschanel) is the world’s worst stand-up comedian as well as a quasi-lesbian in love with lawyer Cindy (Rashida Jones in ridiculous wardrobe and glasses).
Not going to ruin the individual story lines, but obviously Ned spends time with each of his sisters and manages to wreak havoc for each, and anyone else within ear shot. At least that’s how they see it. All he really does is act nice, be open and tell the truth. The chips then fall where they may. Each of the sisters learn a bit about Ned, but even more about themselves.
As previously stated, there are plenty of laughs in this one, but also moments of drama and reality that work like a bucket of ice dumped on your head. The above cast is excellent and also includes Hugh Dancy and Bob Stephenson as the police officer from the opening. Mr. Stephenson is underrated and very talented. He can do much with little. For proof stay for the outtakes over the closing credits. His is a gem.
While the sisters are all quite annoying in their own special ways, it is Paul Rudd who makes the film work. He has the eyes, nature and smile to pull off this character as someone who could actually exist. Someone we all wish we could be a little more like.
SEE THIS MOVIE IF: you see the genius of Paul Rudd OR you are intrigued with the idea of living your life with complete honesty
SKIP THIS MOVIE IF: you are expecting a raunchy slapstick Apatow-type OR you prefer to miss the worst ever lesbian wardrobe captured on film
Greetings again from the darkness. How about a little effort from the Hollywood folks? Writer/Director James L Brooks and Jack Nicholson have teamed up for three far superior films prior to this. Terms of Endearment, Broadcast News, and As Good As it Gets are all insightful dramadies that bring real life into relationships. This one is billed as a Rom-Com, but the romance is distant and lame, and the comedy is all but non-existent.
The very talented Paul Rudd plays George, son of Charles (Nicholson) who is the target of a federal investigation after his father sets him up by falsifying corporate financial documents. The problem is George is a really nice, honest guy and Charles is a lying scumbag who would throw his son to the federal wolves.
In a seemingly unrelated story, Reece Witherspoon plays Lisa, a very talented softball player with an incredible track record and evidently serious skills. She gets cut from the Olympic team because of her advancing age (she will be 31 at the next Olympics). Lisa is dating Matty, played by Owen Wilson. Matty is a $14 million per year major league baseball player, who is also a player off the field.
Everyone in this story is so very nice, but screwed up in their own way. That’s actually a hopeful start. So one thing leads to another and George falls for Lisa. Lisa moves in with Matty, who lives in the Charles’ building. Lisa then moves out. George is always there for Lisa while her life is in shambles. George’s life is in shambles too, but all he cares about is Lisa. Matty cares a lot about Matty. Any guess how this ends up? Of course you know. This script is not built for surprises. Or romance. Or comedy.
The bulk of what comedy there is comes from a very pregnant Kathryn Hahn as Anne, whose life is also a bit of a mess. She is an unmarried, pregnant assistant to George, who worries about him, her and everything … but she has such a big heart that she bakes and labels multiple dinners for George.
Anyway … the best part of the film is that we never get subjected to watching Owen Wilson throwing a pitch or Reese Witherspoon actually playing softball. There is so much talent associated with this film, but it definitely proves the point that the heart of a film is not in the direction or the acting, but in the script. For a similar story line, but far superior film, go re-watch When Harry Met Sally for the eighteenth time. It has comedy and romance and a very worthy script.
SEE THIS MOVIE IF: you are related to one of the stars and they are paying for your ticket OR you just want to see Owen Wilson’s very cool bachelor pad.
SKIP THIS MOVIE: for any reason not listed in the above “See this movie”
Greetings again from the darkness. I fully expected this to be an all-out raunch-com in the vein of The Hangover, and I was absolutely mistaken. The film only slips into slapstick and physical punchyness at the lowest part of the actual dinner. The rest of the movie is pretty basic and set somewhere near real life.
Often, real life situations bring the most humor. Sadly, that’s not the case here. Most of this one is just plain boring. There are some very talented people associated and they all do a fine job. It’s just that the pieces don’t make up an enticing whole. The film basically rides on the shoulders of the talented Steve Carell as Barry. Barry is a genuinely nice guy whose wife left him for his boss (Zach Galfianakis), and his hobby is making intricate displays of dressed up dead mice … his “mouseterpieces”, he calls them.
Paul Rudd plays Tim, another genuinely nice guy trying very hard to make it in the business world. He has the right car and a great apartment and a beautiful girlfriend (Stephanie Szostack) who doesn’t think it’s time for them to be married. Tim seizes an opportunity at work to go for a promotion. This gets him invited to his boss’s monthly dinner party where all the managers bring a guest with extraordinary skills … the titular schmucks. The point is to have a good laugh at the expense of the idiots. Obviously Tim runs into Barry and the guest list is complete.
Tim explains to his girlfriend that there is a “me you don’t know” who has to do things in order to get ahead at work. I really wanted to see more of THAT guy! Instead, we are subjected to another film that just doesn’t know how to take advantage of Paul Rudd’s talent. He is a funny guy and you would never know it here.
If not for Steve Carell and an outlandish performance by Jemaine Clement (Flight of the Conchords) as an “artist”, this film would be totally flat. Instead, there are a few laughs and an underlying theme about the sweetness of some people. It tries to ask the question, who are the real schmucks? Director Jay Roach is responsible for the Austin Powers and the Meet the Parentsfranchises. He obviously knows humor. He takes this one from a French film directed by Francis Veber called The Dinner Game. In that film, we never actually get to the dinner. In this one, the film sinks to its lowest point during the dinner. Lesson learned. Best part? Hearing the Beatles during the opening and closing credits.