If there’s one positive thing about Delta Farce is that is actually follows a tried and true comedy formula-- namely the fish-out-of-water scenario—with moderate success. Down on his luck after losing his job and his girlfriend on the same day Larry (of the Cable Guy variety) decides to join his neighbor Bill (Bill Engvall) and his combat-happy buddy Everett (DJ Qualls) for a relaxing weekend of playing army. But when the three unlucky guys are mistaken for Army Reservists they’re loaded onto an army plane headed for Iraq--and mistakenly ejected in a Humvee somewhere over Mexico. Don’t ask. Convinced they’re actually in the Middle East the clueless wannabe soldiers turn into Magnificent Seven meets the Three Amigos and save a rural village from a siege of bandits proving to be real heroes after all. If you need to laugh at the war on terror you might as well do it with Larry the Cable Guy. He serves up his particular brand of comedy making light of a bad situation. In fact not only does he come off somewhat sympathetically as the hapless boob with a heart of gold he also gets the hot chick at the end of the movie. Go Larry! As his accomplice fellow stand-up Bill Engvall follows his own comic routine playing a hen-pecked trailer trash denizen who views this adventure as a great way to escape his overbearing wife and snotty kids. As the third doofus DJ Qualls (Hustle & Flow) plays a trigger-happy wannabe jarhead who sees this opportunity as a way to gain some street cred. And in a supporting role Danny Trejo a Robert Rodriguez regular pokes fun at his scary looks as the leader of the marauding bandits aptly named Carlos Santana. Yes the jokes are plenty. Director C.B.Harding is obviously a Larry the Cable Guy crony since his only other feature film credit is the Blue Collar Comedy Tour movie. Honestly all that’s really required of him is to point and shoot with maybe a few action sequences to coordinate here and there. But while the formula works as a cohesive movie having to sit through Delta Farce’s comic stylings is the tricky part. What it really boils down to is whether you’re a fan of Larry the Cable Guy. If so you’ll (I would hope) realize you’re watching a pretty stupid comedy but will laugh in the appropriate parts. If not I would really wonder what the heck you are doing sitting in the theater.
A guy who usually doesn't have luck with the ladies Matt Saunders (Luke Wilson) has finally found the perfect girl. Egged on by his buddy Vaughn (Rainn Wilson) Matt pursues the mousy and innocent-looking Jenny Johnson (Uma Thurman) after the two meet on a subway. But Jenny has a few secrets--and what Matt doesn't know in this case can hurt him. See Jenny is really G-Girl a superhero and although it's a side most superheroes don't show G-Girl is a bit possessive and essentially has a borderline personality. So when Matt wants to dump her so he can go out with his quiet and cute co-worker Hannah (Anna Faris) Jenny er G-Girl goes ballistic. She unleashes her superpowers on Matt and unsuspecting Hannah doing things like throwing a shark through his window while they're making out tossing his car around immature things like that. What Matt doesn't do is obey the cardinal rule: Never break up with a girl when she's holding a knife--or when she can throw you through a wall by blowing on you. This should be Luke Wilson's moment to shine and he seizes it. He's had little chance to break away from his goofier-looking and more popular brother Owen and has never carried a movie as much as this one. It's perhaps his meatiest role in which he gets to show a restrained comedic side as well as a dramatic angry and perplexed side. Although it's a typical romantic comedy plot the storyline allows for more reach because of the absurd nature of the jealousy by G-Girl’s arch nemesis Professor Bedlam played perfectly by Brit comic Eddie Izzard as well as the persistently bad advice from Matt’s friend Vaughn played by scene-stealer Rainn Wilson (TV's The Office). Rainn is a definitely a talent to watch out for. Unfortunately Thurman is the biggest disappointment. She's exciting only when she rekindles her Kill Bill persona but is mostly outshined by the cute and fun Anna Faris who's so naively brilliant in the Scary Movie spoofs. Expectations would have to be high if you have director Ivan Reitman on board the guy behind such classic comedies as Animal House Ghostbusters and Dave. Perhaps that's why it's so disappointing--and so very familiar. The comic moments are retreads from the past. Sure we've seen the odd moments where mortals make it with super-human characters--Superman II Bewitched I Dream of Jeannie--and every once in a while the character with super powers gets a bit peeved and goes off the deep end. The best contribution Reitman makes is to keep the over-the-top comedic aspects in check. He doesn’t have the actors play it for laughs. But if you look at past history female superhero movies don't seem to do well at the box office (Elektra and Catwoman anyone?) maybe because guys don't like to take dates to see movies about women who will kick their butts. And guys will be cringing in their seats BIG time when Jenny is trying to analyze the real meaning of the color of a rose that she just got. "Red means that you're in love with the girl. Of course I'm not trying to pressure you." Ugh! Just take the flower.
Mobster-turned-movie producer Chili Palmer (John Travolta) decides to shift over to yet other creative albeit dangerous terrain: The music industry. He's spurred along by the murder of his friend small-time music maven Tommy (James Woods) who leaves behind a beautiful widow Edie (Uma Thurman) and a massive debt to a dangerous rap music mogul Sin LaSalle (Cedric the Entertainer). Chili tells Edie about Linda Moon (Christina Milian) a gifted singer he decides to manage after seeing her perform. With her raw talent Linda has the potential to bail them out. But first they have to get her out of a nasty contract and abusive relationship with her former manager Nick Carr (Harvey Keitel) his right-hand man Raji (Vince Vaughn) and his right-hand man a bodyguard with the unfortunate name of Elliot Wilhelm (The Rock). Complicating things are the Russian mob and a bevy of cops keeping Chili in their crosshairs. This all feels tacked on as the nameless accented characters serve the same purpose as robots in a science fiction movie--they can get blown away without sacrificing any stars or feeling any emotion (prioritize those considerations as you wish).
John Travolta who has barely aged in the 10 years since the first film is in top form in Be Cool. He lives up to the title and his character's name. No matter how dire the circumstances no matter how much he's outnumbered and no matter how many gleaming pistols he has aimed at him he never ever loses his even-keeled demeanor. But maybe that's the problem--because if Chili doesn't ever break a sweat then why should we the audience? Thurman isn't exactly showing her years either but has little to do as Edie. Vince Vaughn is the best he's ever been--he's amped up thinks he's black and sports a high-pitched laugh that is instantly annoying and hysterical. As Raji's gay bodyguard the Rock has a great time lampooning himself (at least the raised eyebrow bit) and revealing terrific comic timing. Cedric the Entertainer would have been better off as more of a reluctant menace to play toward his skills instead of against them. Even the young up and comer Milian does a nice job playing the ingénue singer. But have you ever thrown a party and realize that you've actually invited too many of your good friends? And you don't get to spend enough time with any of them? Well adding the following to the list above is: Andre Benjamin of the hip hop grou Outkast plays Dabu--a klutzy overeager trigger man for Cedric the Entertainer; the late Robert Pastorelli as a deli-sandwich eating hit man; Danny DeVito in a cameo reprising his character from the original; and Aerosmith's Steven Tyler playing himself.
Director F. Gary Gray's understated style and clarity is what made a movie like The Italian Job so entertaining. But with Be Cool that style is mostly absent. There is a flatness to the direction; specifically there are a lot of close-ups for one-liners and many scenes go on just a few beats too long (one that comes to mind is an otherwise funny scene where The Rock models impossibly gay threads for himself in a mirror). In some cases jokes are simply repeated instead of building. Those are heavy sins for a comedy. Plus the kind of breezy cinema that Be Cool and its predecessor Pulp Fiction have traded on has now become a little worn out. It's just not enough anymore to have a black-clad Travolta confidently stride across a room toward danger even if he does it better than almost anybody else. Or having charismatic tough guys oozes the cool all while discussing things like the merits of a Burger King sandwich. What's needed in Be Cool is a slightly fresher perspective. The convoluted plot with its meaningless table-turning doesn't help matters. It's a series of entertaining moments rather than a coherent movie.