Meet Wheeler (Scott ) and Danny (Rudd) -- two salesmen who get to hawk a blue sugary caffeine-filled energy drink called Minotaur. Wheeler is a swingin’ KISS-lovin’ single guy who loves his job playing THE Minotaur while depressed Danny has settled into a nice mid-life crisis loathing just about anything and everyone. These two are just destined to become role models. And so after some very bad circumstances Wheeler and Danny do just that forced into 150 community service hours at a mentorship program. It’s either play big brother to a couple of kids or go to jail. Danny gets assigned to Augie (Christopher Mintz-Plasse) a 16-year-old obsessed with Dungeons and Dragons medieval role play while Wheeler gets a 10-year-old foul-mouthed troublemaker named Ronnie (Bobb'e J Thompson). After one day jail isn’t looking half-bad. For a premise that sounds a bit shaky the cast of Role Models simply sell it. Thanks to the likes of Anchorman and 40 Year-Old Virgin Paul Rudd has found his niche as the go-to guy for deadpan humor. Seann William Scott too seems more mature this time finally shedding that American Pie smug arrogance he’s had to live with for so many years. Virgin’s Jane Lynch is hysterical as the head of the mentorship program Sturdy Wings an ex-addict who takes no crap. Elizabeth Banks (she’s in everything lately) also does a nice job as Danny’s girlfriend who has had it with his behavior. And the kids add to the flavor: Mintz-Plasse aka McLovin’ from Superbad gets to try something different as the geeky Lord of the Rings wannabe while newcomer Thompson plays the smartass kid who curses with a certain panache. Can you believe producer/writer/director Judd Apatow had nothing to do with Role Models? It seems to have many of his signature touches including a pretty hard R rating for a movie with kids in it. But actually Role Models comes from the minds of ex-The State members David Wain and Ken Marino along with Paul Rudd and a few other writers. And for once a long list of writers doesn’t spell trouble for the film; it seems to have only enhanced the comedy. The best part of Role Models has to be the medieval role-playing festival where all known D&D and LOTR enthusiasts come out in droves dressed in full gear ready to wage battle and clash rubber swords for their made-up countries’ supreme dominance. It really happens folks and to have front-row seats to this world is quite a comedic treat.
How to Kill Your Neighbor's Dog is the story of acerbic curmudgeonly Peter McGowan's enlightenment a renowned critically acclaimed playwright fallen on hard times. Having knocked out a trio of Broadway blockbusters during the 1980s he is going through a dry spell though he is still considered the movie capital's most dynamic (and perhaps only) playwright. McGowan's beautiful wife exacerbates his problems putting real pressure on Peter to have children which he couldn't care less about. (He also has to deal with living with his rapidly declining mother-in-law.) And McGowan's attempts to fix up his latest production (directed by a maniacal young savant who favors old show tunes as a means of communication) are being jeopardized by his new neighbor's noisy dog which is keeping him awake at night. Ultimately Peter learns to like children thanks to the neighbor's mildly handicapped daughter fixes his play and the dog is dealt with--though not by Peter.
Kenneth Branagh playing a wordsmith is given too many words to say in the film. Most are funny some are not but Branagh is the film's comedic center and he performs that function more than adequately. Robin Wright Penn is fine as Branagh's wife/foil though she isn't given too much to do other than be happy or sad--there seems to be no in-between for her. Other actors shine brighter: David Krumholtz is hysterical as the loony director of Branagh's new play Jared Harris is too funny as Branagh's modern-day Falstaff and Suzi Hofrichter who plays the cerebral palsy-stricken Amy is a real find. (Unfortunately the laconic Peter Riegert and dumbfounded Jonathan Schaech are underused.) The highlight of the film however is Peri Gilpin's performance as the vapid TV talk show host-turned-Mike Wallace who gets her comeuppance from Branagh. Simply brilliant acting by both Gilpin and Branagh or....
...is it more wonderful writing and directing by writer/director Michael Kalesniko? That interview scene with Gilpin and Branagh is just one instance of the skillful stylized parody he uses to tell the story of a man's life in the theater in a highly theatrical style. During the course of blaming McGowan's slump on anyone but McGowan Kalesniko skewers the usual suspects: nagging wives troublesome in-laws TV news shows neurotic intellectuals lovable bums insane co-workers cynical doctors and of course the ubiquitous barking dog living next door. As Kalesniko allows McGowan to grow closer to his adorable troubled neighbor Amy the movie almost edges into predictability. Fortunately the mostly witty dialogue saves the film from too saccharine an ending rendering it a potent comedy. Ah if only Kalesniko had found someone to edit the film a little more to make it sharper and more biting.
There's nothing more annoying than watching a film and realizing you've already seen the best scenes in the trailer. Daryl Chase (Jones) is a stand-up banking professional who enjoys his fine Italian suits and his Perrier. But his world gets turned upside down when he's mistaken for a murderer and is forced to make a run for the border to hide from Mafia goons and government agents -- not to mention Freddy Tiffany (Eddie Griffin) a fast-talking hoodlum who's either trying to help him or turn him in. Makes little sense? Thought so.
No doubt Griffin's antics which are rehashed from his character on TV's "Malcolm & Eddie " are supposed to provide this dud's comedy relief -- à la Eddie Murphy -- to break up the shoot-'em-up action scenes. But his best lines are used in the trailers and by the time you hear Griffin reciting them up on the big screen all you can muster is a forced chuckle. Especially painful to watch is the scene where street-smart Freddy tries to teach uptown snob Daryl how to act "black."
There's only so much a director can do with a film that's troubled from the very beginning. Director George Gallo ("Trapped in Paradise") put together a film with an utterly confusing main story and subplots that lead to dead ends. It's hard to stay focused when characters flip-flop from being good guys to bad guys. Most of the confusion is cleared up at the very end of the film but by that time who cares?