Jay Roach’s political comedy couldn’t have come at a better time. Just as the U.S. is beginning to suffer from the fatigue that comes with enduring the final months of the heated presidential campaign between Mitt Romney and President Barack Obama Will Ferrell and Zach Galifianakis give us exactly what we need: a good laugh.
The Campaign stars Ferrell as Conservative Senate shoe-in Cam Newton who gets himself in a bit of a campaigning pickle – if you can call a widely publicized sexual slip-up a pickle – and prompts the powers that be (an evil duo courtesy of the always fantastic John Lithgow and Dan Aykroyd) to bring in a ringer: Marty Huggins (Galifianakis). Huggins is flanked by his two trusty pugs and spends his days giving empty trolley tours of his tiny North Carolina town – a naïve happy existence that flummoxes his former political operator of a father (Brian Cox). But once Marty’s appointed campaign manager gangster Tim (a ruthless and surprisingly hilarious Dylan McDermott) Pretty-Womans the grinning familial misfit into a standard cutthroat political candidate the messy misinformation-driven games begin.
Everything we’ve ever feared or discovered about our shiny politicians during campaign season is magnified for the sake of this 90-minute cathartic joke. Right as Romney and Obama are getting headlines for the underhanded loosely regulated practice that is the campaign commercial Ferrell and Galifianakis’ characters take the seemingly lawless practice to a wonderful hyperbolic place where having a mustache makes you a friend of Sadam Hussein and splicing quotes to blaspheme your opponent is kosher. Oh wait that last part is actually true.
This story from frequent Ferrell collaborator Adam McKay along with Chris Henchy and Shawn Harwell plays on the clichés of the campaign trail and dresses them up with baby-punching and butt-licking. Right out of the gate we’re treated to Ferrell cheating on his wife with a squealing harlot in a porta-potty. The writers have no mercy for the political world and coincidentally neither do most of us. And even as the film stretches the limits of our ability to stomach schlocky gross gags it’s not entirely uncalled for. In fact this over-the-top flick is practically an extension of the way many of us view the idea of campaigning in the U.S. – the key is abject cynicism.
Raunchy gags are the name of the game but The Campaign doesn’t shirk the necessary weight of its source material. Sure Ferrell’s requisite nude scene merits a few giggles but it’s the moments that are centered on speeches and strategy that really make the film. They’re rife with spot-on frustrated commentary about the emptiness of political speeches and promises and draped in the hilarious inflections of the films’ funnymen.
But beyond the parts that make us laugh hard enough to eke out a sideways tear The Campaign actually has something that most raunchy Ferrell comedies only purport deliver: a heart-warming gooey center. We can chalk this up to Galifianikis’ Marty who represents the political fantasy we try to believe in every election: the existence of a truly honest well-meaning politician. He’s the guy who runs on the platform that “Washington is a mess” and he actually believes he can clean it up. When Cam is running his mouth about loving America Marty is the one who actually offers up idealistic solutions. To some extent Marty is a character we’ve seen before but he’s this bright spot that keeps The Campaign from becoming a long-form rant.
In addition to Galifianakis’ lovable Marty we find gems in the form of McDermott – whose phantom-like presence throughout the film is always worth a laugh – and newcomer Katherine La Nasa as Rose Cam’s gut-wrenchingly opportunistic Barbie of a wife. Oddly enough a big name like Jason Sudeikis receives low-billing this time around and perhaps it’s because his role is a rather mild one for a man who’s solidified himself as the overgrown frat-boy du jour. Still it’s Galifianakis who carries the film and Farrell’s usual shtick that provides the platform for his character’s unavoidable goodness.
The Campaign is a surprising oddly adorable summer comedy combining the disgusting cringe-worthy visuals we’ve come to expect from a Will Ferrell flick with the brains we hope for any time we see the word “political” tied to a film.
WHAT’S IT ABOUT?
Set in 1985 in an alternate universe the U.S. is in bad shape. Nixon is running for his third term (!) war is about to break out with the Russians and superheroes have become outcasts in a world so complicated even THEY can’t get enthusiastic about saving it. When one of them a former member of the Watchmen named The Comedian is sent hurtling to his death by an unknown intruder in his apartment it brings his former associates forced into retirement back together (sort of) to help solve this geek-laden whodunit. Among them are Rorschach a sociopath whose face is concealed by a mask that changes patterns with his moods (hence the name); Dan a gadget nerd who used to soar as Nite Owl but now is rendered impotent in every way imaginable; Adrian who lives off merchandising his glory days as “genius” Oxymandias; Laurie aka Silk Spectre II still living in the shadow of her faded superhero mom the aging Sally aka the original Silk Spectre; and above all else Jon Osterman who as the result of a government accident has morphed into the physically imposing almost always naked and very blue demigod named Dr. Manhattan. He eventually leads a life in exile on Mars.
WHO’S IN IT?
Although the busy visual landscape and CGI nature of this sprawling comic book epic doesn’t usually lend itself to memorable acting turns this well-chosen cast acquits themselves nicely particularly Jackie Earle Haley (Little Children) who manages to embody Rorschach with a Bogart-like noirish flavor. Haley’s Little Children co-star Patrick Wilson gives a quirky turn as Dan Dreiberg who longs to relive his Nite Owl days but seems stuck in a life cycle that has him spiraling downward into mediocrity. Jeffrey Dean Morgan (Grey's Anatomy) also does a convincingly chilling job as The Comedian a man with very little morals and even less patience. Matthew Goode (Match Point) as the ego-driven Adrian doesn’t make much of an impression. Neither does Malin Akerman (The Heartbreak Kid) as Laurie who is pretty to look at but has some of the worst dialogue. As her mother however Carla Gugino succinctly portrays a woman who has seen better days. Billy Crudup has a few touching moments as Osterman but is mostly upstaged by his alter-ego Dr. Manhattan whose ripped physique and superhero powers steal the show. A lot of guys will want to sign up for this kind of CGI makeover.
Director Zack Snyder has taken Alan Moore’s revered “un-filmable” graphic novel and given it a movie life that crackles onscreen. Snyder is the real star of this show who first proved with 300 and now here that he is a cinematic visionary in a class by himself. Watchmen’s effects work is top of the line dazzling.
Snyder is almost too reverential to his source material. The movie is so loaded with plot and individual storylines that at 160 minutes it tends to put your senses on overload. A little less would have gone a long way but still Watchmen is like no comic book movie you have ever seen – and that’s a very good thing.
It has to be the opening sequence in which a fairly powerful intruder beats the whaley out of The Comedian and sends him flying through his high-rise apartment's plate glass window to his untimely demise on the New York pavement below. Gets the blood pumping right away.
After Rorschach has been arrested and thrown in jail he is confronted by all the villains he has put behind bars who all want a piece of him. But he tells them "You think I'm locked up with you but it's YOU who are locked up with ME!" Oh if they only knew.