After nine grueling years we can finally stop wondering what happened that fateful day when Lloyd Christmas (Eric Christian Olsen subbing for Carrey) first crossed paths with fellow dimwit Harry Dunne (Derek Richardson replacing Daniels). It's 1986 the first day of the new school year and our two IQ-challenged heroes literally run into each other as they race to class. Before you can screech annoyingly they're bosom buddies and the star pupils in the school's special-needs class. Only the class is a scam organized by the conniving Principal Collins (Eugene Levy) to bilk the high school of a $100 000 grant. Of course there's no doubt these oblivious oafs will ruin Collins' plan to run off to Hawaii with horny lunch lady Ms. Heller (Cheri Oteri). Unfortunately we must first endure the forced and blatant rehashing of Dumb and Dumber's funniest moments. Cue bathroom mishaps endless games of tag a fire at a gas station and fights over a beautiful but attached gal (Rachel Nichols). Director Troy Miller even ends this shameless exercise in redundancy by duplicating the predecessor's hilarious final scene featuring scantily clad beauties. Miller and co-writer Robert Brener also offer very few new nuggets of information about the wheeler-dealing Lloyd and the sweet Harry. We do find out how Lloyd chipped one of his front teeth but that's pretty much it. By the time school's out it's clear that it's less fun watching juveniles act like juveniles than watching men act like juveniles.
"Imitation is the sincerest form of plagiarism " Carrey recently quipped to David Letterman about Dumb and Dumberer. He's right. With his bowl-head haircut and chipped tooth the gangly jug-eared Olsen could easily pass for a pimply faced teen-age Carrey. Close your eyes and you'll even swear it's Carrey uttering Lloyd's catchphrase "I like it a lot!" But Olsen doesn't possess Carrey's uncanny elasticity. His facial contortions look taut and strained not rubbery. And that robs this prequel of much of its comic possibilities. That said Olsen's undaunted by the task of making audiences believe he's not a pretender to the porcelain throne. He's always working to wring out as many giggles as possible from the lazy and inane script no matter how humiliating. Richardson however doesn't even try to muster as much as half of Olsen's energy and enthusiasm. He sleep-walks through the mayhem waking up to occasionally run his fingers through his unruly blonde 'do or to shoot off fretful glances whenever the going gets tough. The dumbest thing about the film though is that it gives Levy nothing to do except grope the game Oteri. You can't fault him for being bored embarrassed and unwilling to bring down this house with his customary scene-stealing antics. That leaves Bob Saget--of all people!--to provide the film's sole guffaw. All he's required to do is repeat an expletive--think fecal matter--again and again. But he's so consumed with spewing out this cuss-word that you wonder whether he's just releasing his pent-up frustrations about what his post-Full House career has amounted to. Who can blame him?
Congratulations Troy Miller you've done the impossible: make the fart-friendly Farrelly Brothers look like comedy sophisticates. Miller knows what's amusing and what isn't--he's worked for HBO's hilarious Mr. Show and Tenacious D. But he treats Dumb and Dumberer as nothing more than a cheap and cheerless attempt to belatedly exploit one of Carrey's early rubber-faced farces. Needless to say this is not the best way make us forget Harry and Lloyd's fitfully funny cross-country trek in their shaggin' wagon. Miller displays no respect for the Farrelly Brothers' commitment to passionate and painstaking execution of even the most simplest and crudest of gags. He merely bangs everything out with a minimal interest in style or originality. So there's no pleasure to be found in Harry and Lloyd's classroom disasters or their Jackass-inspired cart ride. He's also very sloppy with trying to maintain the facade of the 1980s. It's tough imagining you're back in the Me Decade when he has Lloyd prancing like the village idiot to Vanilla Ice's 1990 cringe-inducing "Ice Ice Baby" or he neglects to remove from a store rack a magazine with Chelsea Clinton on the cover. Then again perhaps Miller couldn't afford to hire someone to keep an eye on such Reagan era-related errors. So just how cut-rate is Dumb and Dumberer? Check out Lloyd's chipped tooth-it looks like someone barely remembered to black it out with a marker pen.
In this latest doomsday pic Earth's inner core has stopped rotating a situation that will eventually cause the planet's electromagnetic fields to collapse. If it isn't fixed pronto static charges will create "super storms" that will generate hundreds of lightening strikes per square mile and cause microwave radiation to ultimately cook the planet. Government and military officials conjure up a team of scientists led by geophysicist Josh Keyes (Aaron Eckhart) to travel to the planet's core and get it spinning again. Accompanying them are geophysicist Dr. Zimsky (Stanley Tucci) atomic weapons expert Dr. Levesque (Tchéky Karyo) "terranauts" Major Childs (Hilary Swank) and Commander Iverson (Bruce Greenwood) and Dr. Brazzelton (Delroy Lindo)--the renegade scientist who built the subterranean vessel. Their mission is to travel to the center of the earth to detonate a nuclear device that will hopefully jump-start the core and save the world. Like the "terranauts" grinding their way through Earth's layers to get to the planet's core The Core laboriously plods through the storyline to get to its climax--and both are equally uneventful.
Despite a really corny scene in which he demonstrates what will happen to the planet by torching some sort of fruit on a fork Eckhart (Possession) is believable as the sensible Keyes. Co-star Swank (Insomnia) meanwhile brings intensity to the role of fledgling astronaut Childs. It is Tucci (Big Trouble) however who creates the film's most interesting character the arrogant Dr. Zimsky. The diva-esque geophysicist heads to the center of the earth in style with his Louis Vuitton monogrammed canvas bag and an endless supply of cigarettes--making him politically--and refreshingly--incorrect. You'll love how he pompously records the mission's progress in a Carl Sagan-style narration. Back at mission control D.J. Qualls' computer-hacking character Rat mirrors a recent report describing the characteristics of computer virus writers: Male. Obsessed with computers. Lacking a girlfriend. Aged 14 to 34. Capable of sowing chaos worldwide. Qualls (The New Guy) couldn't be more suited for this digital graffiti artist role.
Director Jon Amiel helps define the film's main characters by weaving vignettes of their everyday lives throughout the first half of the film but so much effort is devoted to exploring their individual backgrounds that relationships among the team members are never established. The minor characters are like extras in a Star Trek episode--they're just onscreen to die. The Core also fizzles as a believable disaster movie because of its flimsy scientific reasoning even if you try to suspend your disbelief for the sake of cinematic "escapism." While I can make myself believe for example that a government-created weapon of mass destruction is to blame for the planet's imminent annihilation I cannot buy into the notion that this high-tech vessel was built by a renegade scientist in his backyard and is able to withstand the rough trip to the center of the earth. Although the film's original November release date was delayed because more time was needed to complete the special effects don't expect to be visually dazzled by the voyage. Most of what we see is what the "terranauts" see on their screen: spotty black-and-white renditions of sharp jagged rock. Scenes of the Roman Coliseum getting zapped by lightening and San Francisco's Golden Gate Bridge melting aren't convincing either.