Ricky Bobby (Will Ferrell) has been hotdoggin’ since the day he was born--when legend has it his momma (Jane Lynch) popped him out of her belly in the back seat of a car. Now grown up and living his dream as a NASCAR driver he takes his swagger out onto the tracks with mixed results. Even though he and lifelong friend Cal (John C. Reilly) usually end up in first and second place respectively his owner deems him a financial liability after he finishes a race in reverse. Consequently a prim proper and gay French F-1 driver (Da Ali G Show’s Sacha Baron Cohen) is recruited as a new investment and Ricky gets in a horrific crash trying to beat him winding up paralyzed…in his mind. After a long road back--which sees Cal steal Ricky’s lady (Leslie Bibb) and limelight and Ricky reunite with his estranged racer dad (Gary Cole)--Ricky learns to leave showmanship homophobia and pyrophobia (fear of fire) in his dust and just drive the damn car! Ah...Will Ferrell in his total element--it’s a beautiful thing and one we haven’t much seen since SNL. Until now. In Talladega Ferrell brings his energy satire and out-of-the-blue pop-culture references to new highs in his best post-SNL performance yet. And if you close your eyes and listen to Ferrell’s faux South-speak you can hear his great George Dubya send-up of yore. Matching Ferrell scene for scene--in quality not quantity--is Reilly. With his role as a tractable doofus with a good heart Reilly has now completed the whole spectrum of roles and can be unequivocally branded an acting chameleon. Oddly he seems best fit a tractable doofus but that’s merely a testament to his abilities. Cohen’s biggest mainstream role to date is also a hit as he applies equal parts Ali G’s Borat and hyperbolic French stereotype for often hilarious results. And Amy Adams stars as Ricky’s neglected assistant; it’s a role so small that she must’ve signed on before Junebug took her to the Oscars. If after his hit ‘70s San Diego news show Ron Burgundy were to have done something to necessitate placement in a witness protection program it’s not inconceivable that he could've relocated to the South found his true calling as a pompous NASCAR driver and taken the fake-sounding name Ricky Bobby. That’s no coincidence: Talladega like Anchorman is written by Ferrell and Adam McKay who also directed. But the two have filled in the blanks from their previous collaboration for a more well-rounded effort. The duo best complement one another when it comes to Ferrell’s sense of humor; it is at its core drier than most care to realize but the co-writers manage to moisten it in such a way for all to thoroughly enjoy. What really separates this film from its predecessor though is the action--the racing scenes will surprise! And to that end McKay uses the NASCAR angle to reel in its massive contingency as well as Ferrell/comedy fans all of whom should go home happy.
Dreamer is another one of those family films--based on a true story no less--that makes you feel guilty for not liking it because it means so well. The film revolves around the Cranes who have worked on their Kentucky horse farm for generations. But gifted horseman Ben Crane (Kurt Russell) loses his love for the job when the farm hits hard times. His estranged father Pop (Kris Kristofferson) feels like his son has given up unnecessarily. Even Ben’s young daughter Cale (Dakota Fanning) can’t get through to her dad. The only way this family can heal is by helping an injured horse named Sonya get ready for a seemingly impossible goal: to win the Breeders' Cup Classic. Say it together: “Awww!” At least the film gets it half right in its casting. Russell is perfect as the beleaguered Ben a man who needs a little inspiration to get back on track and he thankfully never takes it over the top. Same goes for Kristofferson who is aptly crusty and unwilling to give his son an inch--that is until his granddaughter and that darned horse melt his heart. And the family resemblance is uncanny; apparently the two actors have been told quite often how much they look like each other. The one misstep here is Fanning. Yes she is an extraordinarily gifted actress for her age but Cale should have been played by a happy sunny child. The oh-so-serious Fanning doesn’t really qualify. Also Elisabeth Shue as the mom is all wrong. A horse farmer’s wife? Please. Writer-director John Gatins takes a big gamble making his directorial debut with a movie about an underdog horse. First there’s the underdog part. This year seems a bit saturated with the plot device what with films like Cinderella Man and most recently Greatest Game Ever Played. Second there’s the whole horse thing. It’s just going to be hard to top the Oscar-nominated Seabiscuit--the quintessential true horse-racing movie to beat them all. True Dreamer is based on a true story and is nicely--albeit conventionally--framed. But the film isn’t unique in any way. It’s the same feel-good family stuff we’ve been swallowing all year. See? I told you I’d feel guilty for knocking it.
The Whole Ten Yards picks up about two years after the events that changed the lives of Oz (Matthew Perry) Jimmy "The Tulip" (Bruce Willis) Jill (Amanda Peet) and Cynthia (Natasha Henstridge)--and made them a whole lot richer. Nice-guy dentist Oz is now married to Jimmy's ex-wife Cynthia and living in Brentwood Calif. where he still practices dentistry. They seem happy but Oz is so paranoid someone will come after him that he keeps an arsenal of weapons in his home which is teeming with high-tech surveillance equipment. His suspicions however are not so farfetched: Turns out Cynthia is in cahoots with Jimmy who is now married to Jill and living in Mexico and they're planning to rob Hungarian mobster Lazlo Gogolak (Kevin Pollak) who's just been released from prison. But Lazlo has an agenda of his own. He wants to kill Jimmy for the murder of his son rival hitman Yanni Gogolak a couple of years ago. When Lazlo kidnaps Cynthia to get to Jimmy (he figures Oz will spill the beans on his whereabouts) poor Oz runs off to Mexico and pleads for Jimmy's help. What Oz and Jill don't realize however is that they are part of a much bigger revenge plot against Lazlo perpetrated by their own spouses Jimmy and Cynthia.
The only thing that makes The Whole Ten Yards engaging is the returning cast who have a playful and endearing on-screen chemistry. Willis and Perry are at the forefront reprising their roles as Jimmy "The Tulip" Tudesky and Nicholas "Oz" Oseransky respectively. The actors craft their characters well and uniquely and the conflicting personalities they create--Willis' cool and collected Jimmy and Perry's nervous and scatterbrained Oz--make watching their interactions entertaining. When the two discover that the hostage in the trunk of their car has died for example Willis stands there unflinchingly while Perry yelps "It looks like he got shot in the foot! Who dies from being shot in the foot?" Peet blends in with her own brand of humor; her klutzy character Jill is hilarious without trying to be which is the key to her performance. Jill's hung up on the fact that although she's a professional marksman she's never had a real kill--she's so accident-prone that her targets always die by default. Also returning for the sequel is Pollak who played Yanni in the first film. Here he returns as Yanni's father Lazlo aged with the help of prosthetics and makeup. It's a great idea and the result is pretty funny although the character is cartoonish.
Director Howard Deutch makes a valiant effort with this sequel to the 2000 hit; there's continuity in the characters although their lives have progressed since the events of the last film. The problem with The Whole Ten Yards is its story penned by Mitchell Kapner and George Gallo. While The Whole Nine Yards had an elaborate storyline it was easy enough to follow--everyone was basically trying to kill one another. Here the plot's equally convoluted but rather than interesting twists and turns we get inconsistencies and dead ends. Take Jimmy's new Suzy Homemaker role for instance. As the film opens Willis is traipsing around his Mexican villa in bunny slippers wearing a 'do-rag on his head fussing over dinner and the fact that the potatoes are supposed to be "floating around the lobster not just stuck there." We find out it's all an act but the reasons are never disclosed. By the time the film ends audiences will be asking themselves what it was all for. Perhaps the filmmakers thought the sight of Willis as a dowdy housewife would make moviegoers laugh so hard they'd forget to ask why.