Since his days directing sketches for comedy troupe The State and his seminal debut feature Wet Hot American Summer David Wain has been expertly calculating ways to make his brand of absurdist humor work within the rigid conventional world of Hollywood movies. His latest Wanderlust is the perfect example of a hollow rom-com template that Wain fills to the brim with bizarre jokes and perfectly timed physical humor. His soldier of fortune is Paul Rudd who brings the golden ratio: looks of a leading man and a comedic gravitas that is unmatched. Rudd's at the top of his game whether he's landing a one-liner stretching his face to Jim Carrey-like proportions or reacting to his maniac co-stars the actor delivers—making Wanderlust charming deranged and very funny.
George (Rudd) and Linda (Jennifer Aniston better suited for this wacky comedy than you'd think) are a happily married couple living in New York attempting to live the dream lifestyle without any of the reality to fall back on. It doesn't work—George loses his job Linda fails to sell her documentary on penguin testicular cancer and the two find themselves forced to sell their "micro-loft" in the West Village and move in with George's brother in Atlanta. During their epic car ride George and Linda make a pit stop at a local Georgian B&B only to discover it's a counterculture commune home to an eclectic group determined to live on their own alternative terms. The inhabitants of "Elysium" range from nudists to tai chi experts to organic farmers but they all have one goal: live free. Realizing they don't have too much else going on in their lives (their alternative is shacking up with George's materialistic misogynistic businessman brother Rick played by the amazing Ken Marino) George and Linda dive head first into the off-beat world of Elysium.
Wanderlust dishes out its fair share of oddities when exploring the world of Elysium but isn't content in simply exploiting those quirks. Wain who co-wrote the script with Marino fleshes out the ensemble and makes keen choices so that no character is just a face in a crowd. Comedy pros like Justin Theroux Alan Alda Malin Akerman Joe Lo Truglio Kathryn Hahn Kerri Kenney Lauren Ambrose and more round out the cast and help color the world of Elysium piling laughs on top of laughs with every scene. Theroux stands out as Seth a spiritual leader for the group who begins to woo Linda away from George with his savvy guitar skills and potent herbal teas. Seth's slow and steady demeanor is a welcome change from the usual rapid-fire style seen in the modern comedy (the movie was produced by Judd Apatow so it wouldn't have been a surprise to see the approach replicated in Wanderlust) making us laugh in a zen fashion.
Meanwhile George just can't get anything right from group "truth circle" exercises to drinking coffee made of dirt to Elysium's "free love pact " which gives both he and his wife the chance to sexually explore outside of their relationship. The couple quickly realizes the freedom of their new home divides them and Wain's sensitivity to story and character evolve the relationship in a rather conventional yet desirable fashion.
Wanderlust falls somewhere between a Katherine Heigl romantic comedy vehicle and the pleasantly obscene work of Wain's past—and it may catch some off guard. The movie doesn't mind throwing in a bit of male nudity playing with abrasive repetition or those who find laughs in patience. The movie fully embraces the weird while never lettings its characters slip fully into caricature. Much like George and Linda's own dilemma Wanderlust wants to find harmony between the mainstream and the not-so-much. Thankfully it achieves inner peace.
In yet another variation on the shopworn road picture in which two mismatched former buddies are forced to cross the country together Soul Men’s uneasy brand of overly broad humor and contrived situations is saved intermittently by some cool musical numbers. But alas it’s not enough. Louis (Samuel L. Jackson) and Floyd (Bernie Mac) are part of a major musical group led by Marcus Hooks (John Legend) who goes solo leaving Floyd and Louis in the lurch. Fast forward 20 years Hooks has died and Louis and Floyd who did not end on good terms and have not spoken since have been coerced into appearing a tribute show for Hooks at New York’s famed Apollo Theatre. Afraid to fly they get in Floyd’s 1971 Cadillac El Dorado accompanied by a talented young woman (Sharon Leal) who may be Floyd’s daughter. Along the way they try to get their act up to speed by appearing in various redneck honky tonks filling the interminable 103-minute running time with a lot of unfunny sexual encounters and unbelievable situations. The late Bernie Mac was a terrific comic talent and is highly wasted in this mishmash in which he is constantly encouraged to mug for laughs. Mac is so much better than the lowbrow material he has to work with here that it’s a shame this film should stand as one of his last (at least there’s Madagascar 2). Faring even worse however is Samuel L. Jackson who is out of his element in a musical comedy and seems to be taking none of this hokum seriously. Thankfully the soulful musical numbers reminiscent of classic ‘60s Sam and Dave R&B are well chosen and capably performed even though neither Mac nor Jackson are known for their singing. Best number in fact is fronted by John Legend making his acting debut as Hooks. As the young eager beaver manager trying to get Floyd and Louis back together Sean Hayes is way too broad. Faring better is newcomer Adam Herschman as Hayes’ mop-topped intern who uses his fanboy infatuation with the pair to nice advantage. And there’s a nice now bittersweet bit near the end with the late Isaac Hayes. Malcolm Lee (Undercover Brother Welcome Home Roscoe Jenkins) is a director who tends to go for the slapstick when a little subtlety and believability would be more in order. With a great Sunshine Boys premise and some nifty musical material to pepper the proceedings Lee still manages to drop the ball letting his talented actors down and encouraging them to chew up every scene. The corny silly situations certainly doesn’t help matters with the road trip device feeling more like padding than anything else. Soul Men doesn’t find the right rhythms.