Phil Weston (Ferrell) is a kindly fellow who owns and runs a vitamin store has a lovely wife (Kate Walsh) and son and has some serious issues with his father Buck (Robert Duvall). All his life Phil has had to endure his father's over-the-top competitive nature and he always falling short of the mark. When Phil decides to coach his 10-year-old son's soccer team he once again goes up against Buck who coaches his own young son on the top team in the league. Of course Phil's team is the worst team on the league but that doesn't matter. Something suddenly snaps in Phil and he sees a chance to settle some old scores with the old man. He starts using extreme measures to try to whip his young charges into shape. They include getting Mike Ditka as an assistant coach (played by the real ex-football coach oddly enough) bringing on two Italian whiz kids as secret weapons and drinking lots and lots of coffee (trust me it works). Phil can taste his first real shot at victory and will stop at nothing to win the championship trophy.
Some of you might think Ferrell's antics are wearing a little thin that maybe he's a little overrated and overexposed. But I'm not one of them. Ferrell could read a telephone book and I'd laugh. So watching him once again play a hapless bighearted loser--who is pushed to the edge so much so that he berates children calls the formidable Ditka a "Juice-box boy" and melts right on down to the nub--is another treat for me. Of course much like Walter Matthau in Bad News Bears Ferrell has some help from his younger costars. The misfit soccer team includes all the different types: a diminutive fireplug (Elliot Cho) whose lesbian mothers (played hilariously by Rachael Harris and Laura Kightlinger) keep insisting is "shy"; a wisecracker (Steven Anthony Lawrence) with a serious overbite; and of course Phil's own sweet son Sam (Dylan McLaughlin) who just wants to have fun. Ditka also seems to be having a good time in all his bullying glory. Duvall however doesn't really have much to do except throw his weight around a bit--and perhaps relive some of his The Great Santini moments.
Kicking & Screaming has a couple of things going for it. The father-son and underdog themes are tried and true plot contrivances that inherently work because of the ultimate payoffs. Director Jesse Dylan (American Wedding) along with the writing team of Leo Benvenuti and Steve Rudnick (The Santa Clause) knows this and exploit the machinations to their fullest capabilities. You want Phil's team to win at any costs but of course you want them all to learn a big lesson. Ho hum. Unlike the charming Parenthood or the irreverent Bad News Bears Kicking & Screaming unfortunately caters to the formulaic a tad too much. Save for a few comic bursts from its lead player it never really finds its own individuality.
In a lighthearted riff on Homer's epic poem set in the Depression-era South verbose
charmer Everett Ulysses McGill (George Clooney) and two dimwitted cronies (John
Turturro Tim Blake Nelson) break free from a Mississippi chain gang only to face
a long series of trials including a trio of seductive laundry-washing sirens
and a fearsome one-eyed Bible salesman (Homer's Cyclops of course creepily portrayed
by John Goodman). Unlike the original Ulysses Everett also must contend with
pursuing cops Southern-friend politicians and the KKK if he is to prevent his
less-than-faithful former wife (Holly Hunter) from marrying a rival suitor.
Leading goofs Clooney Turturro and Nelson gamely get into the Three
Stooges-ish tone of the piece with Clooney in particular delivering a
winking self-mocking turn that must be his broadest screen performance to
date. Nelson ("The Thin Red Line") is also a riot as a mild-mannered yokel
for whom every slow-moving thought requires visible effort. Disappointingly
Coen veterans Goodman Hunter and Charles Durning have less to sink their
teeth into than in previous outings with the brothers.
Writer-director Joel and writer-producer Ethan Coen rack up yet another enjoyable
romp featuring all of their signature elements - playfully stylized camerawork
offbeat music colorful characters distanced by dripping irony. Evoking the road
comedies of the '30s and '40s this easygoing comic adventure has an old-fashioned
flavor and (for a Coen picture at least) a relative lack of graphic violence
that links it to the brothers' underrated 1994 Frank Capra homage "The Hudsucker
Proxy." Amusing as it is however "Brother" rarely achieves the same hilarious
heights as previous Coen laughers such as "Raising Arizona" and "The Big Lebowski."
Following a trail of bodies FBI agent Peter Novak (Vince Vaughn) tracks down and captures disturbed serial killer Carl Stargher (Vincent D'Onofrio) in The Cell. Before Carl can reveal the whereabouts of his final victim (a woman trapped in a cell on the verge of drowning) he has a seizure and falls into a coma. Enter psychologist Catherine Deane (Lopez) who tries a radical new therapy. Using a chemical link to Carl's brain that could destroy her own sanity Catherine agrees to enter the labyrinthine kingdom that is the mind of this madman. Her mission: Find the cell's location before time runs out and avoid getting trapped inside the killer's head.
Jennifer Lopez looks a bit dazed and confused as she reacts to the wild and weird visuals but manages to keep a straight face with a wardrobe from Mars. Vaughn squeezes as much quirk as possible from his flatly written character and graduates to believable hero status. As the killer D'Onofrio has little to do but shoulder the weight of lavish costumes and numerous prosthetic piercings. Still his oft-altered voice and unpredictable nature make him a quite menacing villain.
The true star of the film commercial and music-video director Tarsem ("Losing My Religion") makes his feature-film debut here. His origins are abundantly clear in the fantastic mind-bending imagery mixed with static acting and minimal dialogue. Inspired by non sequitur dream imagery and artwork from the likes of Hieronymous Bosch and M.C. Escher Tarsem has created some of the most exquisite and phantasmic visuals put on celluloid yet. Come Oscar time keep an eye out for costume and art direction nods.