Rumors of Will Ferrell’s demise have been greatly exaggerated. After falling from his perch atop the comedy world with a trio of high-profile disappointments Semi Pro Land of the Lost and Step Brothers the venerable funnyman seemed destined to join the tragic ranks of fellow SNL alums Mike Myers and Eddie Murphy comic geniuses who fell prey to their own spectacular success. But he makes a triumphant return to form in The Other Guys a riotous action comedy from longtime Ferrell collaborator Adam McKay (Anchorman Talladega Nights).
Playing Allen Gamble a straightlaced NYPD detective happily confined to his desk job as a forensic accountant Ferrell dials down the goofball element that metastasized in recent years instead exhibiting a kind of earnest cluelessness more reminiscent of his character in Elf. Safely in his element crunching numbers and combing paperwork for accounting irregularities risk-averse Gamble is more than willing to concede the spotlight to the precinct’s glory-hound celebrity cops Danson and Highsmith (Dwayne Johnson and Samuel Jackson) who’ve charmed the citizenry with their heroic indifference toward danger private property or common sense.
Gamble’s good-natured obliviousness earns him the disdain of his embittered cubicle mate Detective Terry Hoitz (Mark Wahlberg) who unlike Gamble didn’t come by his desk job by choice. In a city scarred by accidental police shootings and devoted to its beloved Yankees Hoitz committed the ultimate sin clipping an unarmed Derek Jeter in the leg during a moment of panicked confusion. (“You should have shot A-Rod!” one heckler shouts.) Removed from the street indefinitely by his boss Captain Gene Mauch (a scene-stealing Michael Keaton) Hoitz is a snarling ball of impotent rage most of which he directs at Gamble. (For those of you keeping score yes Keaton’s character is named after the former baseball manager.)
This being a buddy comedy Gamble’s and Hoitz’s fates are destined to intersect. Sure enough their chance to seize the fire comes when the city’s all-star crime-stoppers Danson and Highsmith are abruptly taken out of commission in one of the most shockingly hilarious twists in recent movie history.
Wahlberg and Ferrell may not make the best cops but they’re an absolutely stellar comedic team. To their credit McKay and Other Guys screenwriter Chris Henchy know we won’t settle for just the tired bickering odd-couple scenario of buddy comedies past (see Cop Out) and they take care at several points to flip the script on the formula when Gamble and Hoitz hit the streets together giving Wahlberg as many opportunities to flex his comedic muscles as Ferrell. It’s a bit of a gamble — the rapper-turned-actor isn’t exactly known for his range — but it pays off handsomely in the film.
Wahlberg has shown a welcome willingness to make fun of himself in recent years with his cameos on SNL and in Date Night. His performance in The Other Guys is in many ways a straight-up parody of his abrasive expletive-spewing character in The Departed a role for which he earned an Oscar nomination. (This still boggles my mind — I hope Mark is sending weekly gift baskets to both Martin Scorsese and the Academy.) The Other Guys is easily his funniest work since The Happening.
For his part McKay throws in some solidly-crafted action sequences to complement the comedy and even makes a stellar cameo as the leader of Dirty Mike and the Boys a gang of homeless men who terrorize the Priuses of New York City with their all-night orgies for which the interior of Toyota’s trendy hybrid are apparently ideal. But as a storyteller he still struggles mightily with the third act (see Step Brothers a film that all but fell off a cliff). The film loses some of its momentum in the second half mainly because it must get down to the business of resolving its nebulous plot which centers around the corrupt dealings of a hedge-fund charlatan (Steve Coogan) and some improperly filled-out scaffolding permits. But resolution issues notwithstanding The Other Guys still marks a solid upgrade over Step Brothers in the McKay-Ferrell pantheon and is arguably their best collaboration since Anchorman.
The Rise and Fall of Will Ferrell
This week sees the release of the latest Will Ferrell film, The Other Guys. Telling you this film is a comedy is akin to making the Earth-shattering announcement that the theater in which you see it will be serving popcorn. Ferrell has made an indelible mark on comedy and become, like it or not, the face of the genre for an entire generation. I will in no way pretend that his work hasn’t elicited more than a few laughs from me and I do sincerely think the guy is a comic genius. That being said, I don’t think I’m alone in noticing a marked decline in the quality of his work as of late. In an effort to understand this slump, I think it’s important to examine his body of work as a whole.
Will Ferrell, like many comedic movie stars, cut his teeth on Saturday Night Live. He entered the cast during the twilight of the era of Mike Myers, Adam Sandler, and Chris Farley. To adopt comic book parlance, I consider this the silver age of SNL. I am sure more than a few producers were concerned about the longevity of the show, even in its 21st season, upon losing that lineup. But along came the likes of Molly Shannon, Cheri Oteri, and a bizarre giant by the name of Will Ferrell. A new dynasty was born.
When Hollywood could no longer ignore Ferrell’s talent, his early movie career exemplified the proverbial mixed bag. It began as a memorable cameo in a Mike Myers' passion project: Austin Powers: International Man of Mystery. As if to solidify the existence of the curse of SNL properties adapted to film, Ferrell followed his excellent turn in Austin Powers with bombs A Night at the Roxbury and Superstar. But amidst the abysmal SNL adaptations, he also delivered much smarter comedy gold in Dick.
While I happen to enjoy Zoolander, and more specifically, Ferrell’s performance as Mugatu, the film that really propelled his career was undoubtedly Old School. That was the film that showed just enough of his range to convince people that this wasn’t just an SNL funnyman, but a potential movie star as well. He then displayed even more range and heart with John Favreau’s Elf, which has become one of my favorite Christmas movies of all time. If Ferrell had people convinced he could be a comedy frontman with Old School, it was Anchorman that made Hollywood realize just what kind of major player he could be.
As much as I love Anchorman, and believe it to be a superb comedy, this success was a mixed blessing for Ferrell and the source of his current stagnation. I’m sure some of you are questioning my mental faculties right now, and I don’t blame you, but Anchorman truly created a monster. As heartily as we all laughed at the blundering, misogynistic buffoon that was Ron Burgundy, we didn’t realize Ferrell would play this same character for the next four years. This developmentally arrested man-boy would rear his head in Talladega Nights, Blades of Glory, Semi-Pro, and Step Brothers.
It’s one thing to create an incredibly unique character and play the part to perfection once, but it’s quite another to beat a dead horse until one becomes a parody of oneself. In the midst of all this, Ferrell did attempt to flex his comedic and thespian muscles with films like Melinda and Melinda, Winter Passing, and Stranger Than Fiction. All great performances, all largely unheralded at the box office. I believe the lack of commercial success for his more artistic endeavors is what drove Ferrell time and time again back to this tired but tried-and-true formula. I also believe this is exactly why he’s struggled of late trying to break away from that archetype. Ferrell’s only vehicle since the last gasp of the dying man-boy persona (in Step Brothers) was the unfortunate Land of the Lost, which failed to deliver, to put it lightly.
It’s interesting to me, and really telling when you think about it, that since Stranger Than Fiction, Ferrell’s best work has been in cameos and internet memes. His series of web shorts featuring a precocious little costar were hysterical, my favorite being “The Landlord,” and his stint on Eastbound and Down was fantastic. Hopefully, the very fragile and meek police officer in The Other Guys will be the role that snaps his losing streak and definitively breaks him free of Ron Burgundy.
The American Pie star was driving through Los Angeles when his car was pulled over by police last month (Jun10).
He was arrested after failing a sobriety test and was later charged with two misdemeanours which could land him a stint in jail.
Klein checked into the Cirque Lodge rehab facility in Utah, which previously housed Lindsay Lohan, to seek professional help for his problems. He signed up for a 30-day program and his rep, Jaime Primak, has now confirmed he will be staying a while longer.
Primak tells People.com, "Chris, along with his support team, has decided to extend his treatment. He is doing fantastic and is optimistic about his future. He thanks everyone for their continued support."
Christopher Nolan has signed on to produce the much-anticipated superhero film and now GeekTyrant.com reports he has asked his brother Jonathan to take over directing the film so he can concentrate on the next Batman movie.
The less famous Nolan brother is already working closely with his sibling - Jonathan is among the writers on Batman 3.
A studio source tells MovieHole.net, "Jonathan Nolan is not onboard yet, but it looks like he will get the job. He wants to direct, Chris wants to land him that gig... That said, it is far from a done deal."
The always entertaining Thomas Lennon is one of those guys you may recognize but aren't necessarily sure where from. You really should know more about him, since you've probably seen more of his work than you are aware of. As a screenwriter, he's brought the masses Night At The Museum and it's sequel, Taxi, The Pacifier and other hit films, and as an actor he's left you hiccuping with laughter in Reno 911!, I Love You, Man, Balls of Fury and countless Funny or Die sketches. Next year, you'll be lucky enough to get a double dose of Lennon as he joins a pair of productions that are currently filming.
First, he'll shoot scenes for 20th Century Fox's upcoming rom-com What's Your Number? The film stars Anna Faris as a woman who looks back at the past twenty men she's had relationships with and wonders if one of them might be her one true love. He'll play one of the ex-lovers, joining Chris Evans, Zachary Quinto, Matthew Bomer, Andy Samberg, Chris Pratt, Joel McHale and others. Mark Mylod (Entourage) began shooting the film in May and will wrap soon, giving Lennon just enough time to craft his character before jumping into another "high" profile comedy.
New Line Cinema is lucky to land Lennon for their stoner threequel A Very Harold and Kumar Christmas, which is also currently shooting in Michigan. The film reunites Kal Penn and John Cho as best buds on a nutty-as-usual adventure that takes place ten years after they Escaped From Guantanamo Bay. Lennon will play the suburban neighbor of Harold Lee.
In my book, more Lennon can only mean more fun in a film, so needless to say I'm amped to see these two 2011 comedies. For even more laughter by Lennon, you'll be able to catch him in the Cameron Diaz vehicle Bad Teacher, also due next year.
By both critical and commercial measures live-action anime adaptations boast a record of futility second perhaps only to videogame adaptations. Some essential aspect of the source material is irretrievably lost during the process of translating Japanese cartoon to Hollywood tentpole something that even the most bloated visual effects budget can’t conceal. Think Dragonball Evolution and Speed Racer.
And yet Hollywood keeps trying lured by tantalizing visions of cash-cow franchises fed by loyal built-in — and most importantly international — audiences. The latest casualty of this misguided ambition is The Last Airbender based on the hit Nickelodeon series Avatar: The Last Airbender. To be fair Avatar isn’t anime in the orthodox sense in that it was conceived and produced in the States but its style and soul are almost exclusively anime-inspired. As such its big-screen fate is similarly sealed.
Who could possibly break such a rueful trend? For some reason the minds at Paramount thought M. Night Shyamalan that notorious purveyor of ponderous and increasingly shlocky supernatural thrillers might succeed where so many other directors had failed. Even worse they saw fit to hire him to pen the screenplay as well ensuring that every vital aspect of the film would feel the crushing weight of his heavy hand. With such a hacky burden to bear it comes as no surprise that The Last Airbender never really takes flight.
The film's story is set in a world divided into four tribes each aligned to an element: Air Earth Water and Fire. Certain gifted tribe members known as a “benders ” can manipulate the properties of their assigned element to suit their ends. In order to do so they must first perform an elaborate and utterly ridiculous kung fu dance after which a torrent of fire water or whatever arises to obey their command.
For the better part of a century the oppressive and warlike Firebenders have besieged the other nations gradually thinning their respective ranks. The Air Nomads have faired the worst of the lot and are presumed to be extinct until Water peeps Katara (Nicola Peltz) and Sokka (Jackson Rathbone) discover a boy named Aang (Noah Ringer) trapped in a giant ball of ice. Not only is Unfrozen Kung Fu Warrior the last remaining Airbender (thus the title) he is also an Avatar the only being on the planet capable of wielding all four elements. And only he can bring an end to the Firebenders’ evil reign.
Blessed with an opportunity to reinvent himself in a new genre and with a new demographic Shyamalan can’t avoid falling back on old habits most notably his penchant for awkward and cumbersome dialogue. It’s difficult enough for adults to deliver his lines but it’s absolute hell for The Last Airbender’s youthful protagonists whose not yet fully-developed temporal lobes can’t hope to adequately process the inanities of Shyamalan-speak. One can almost see the smoke coming from little Noah’s ears as he labors to complete each portentous sentence. Poor kid. Where are the Child Labor people when you need them?
But bad dialogue is only one of a litany of problems that plagues The Last Airbender which suffers from mediocre CGI inexplicable casting decisions (caucasians actors none of whom are especially talented are tabbed for asian roles when sufficiently mediocre race-appropriate actors were surely available) and a plot comprehensible only to the most ardent fans of the Nickelodeon series. Much as Aang bends the air Shyamalan tries to bend the laws of quality cinema to his will but they refuse to yield to the force of his ego. I only wish the execs at Paramount had been as stalwart.
Rock admits he set up home in the neighbouring state of New Jersey because he can get a lot more land for his money, so he was surprised when his relative reached out for financial help after years of living in the heart of New York.
He says, "One of my uncles called me up for money because he was losing his apartment in the city and I was like, 'Yo man, I don't have an apartment in the city!' I live in Jersey!"
"To live like a rich person in the city, you gotta spend like $20 million."
The comedian was captured on camera trying to share a joke with Bryant during a recent NBA Finals clash between the Lakers and Boston Celtics - and the sports star was doing his best to ignore him.
Jackson decided enough was enough and walked over to Rock to tell him to shut up.
He says, "Phil Jackson screamed at me, man, and I was scared. He was like my dad. I thought he was gonna put his big Phil Jackson foot in my a**."
Pal David Spade, who was with Rock at the game, admits it's difficult to land the best seats at a basketball game and not chat to the players: "We're two feet away from the guys and we feel dumb sitting there because you know they don't like it because every week it's four new idiots from some TV show... It's the same jokes to the players."
Hollywood has always been an insular place its peculiar rhythms largely indifferent to those of the outside world. Nowhere is this more achingly evident than in Sex and the City 2 a movie so staggeringly tone-deaf it appears as if constructed in some decadent biosphere its filmmakers unaware that they were constructing not only one of the worst studio films in recent memory but arguably one the most misogynist as well.
Whereas the close of 2008’s Sex and the City found heroines Carrie (Sarah Jessica Parker) Miranda (Cynthia Nixon) Charlotte (Kristen Davis) and Samantha (Kim Cattrall) more or less getting everything they’ve ever wanted the sequel finds them faced with the inconveniences that come along with having everything they’ve ever wanted. Patrician Charlotte despite the aid of both of a full-time nanny and a housekeeper is overwhelmed by the demands of being a stay-at-home mom to two children while high-powered executive Miranda is too ensconced in boardroom politics to attend her genius second-grader’s science faire (though to be honest the child is probably better off without her around).
Superstar publicist Samantha now 52 her familiar bawdiness nearing its awkward creepy-uncle stage is in the throes of peri-menopause swallowing pills by the handful to boost her sex drive and forestall her inevitable descent into cat-hoarding spinsterdom. And Carrie two years into her marriage with Mr. Big (Chris Noth) a man whose positive qualities are limited to his massive bank account and his supply of clever entendres (each delivered in his trademark dulcet monotone) is frustrated that her husband is more interested in spending weeknights watching TV on the couch than squiring his prized thoroughbred around to glitzy movie premieres.
Wilting under such stifling affluence the four gal pals opt to flee on a whirlwind trip to the Abu Dhabi to recharge their collective engines — but not before a nearly hour-long first act involving a gay wedding which allows writer/director/producer Michael Patrick King to get his fill of gay jokes and throw in a superfluous performance of Liza Minnelli singing Beyonce’s All the Single Ladies. And it’s just as disturbing as you'd expect.
The choice of Abu Dhabi as the girls’ destination is not as counter-intuitive as it seems: The famously oil-rich Arab Emirate is one of the few places on earth capable of providing the girls with a level of luxury beyond which they’ve already grown accustomed. Justice (and compelling storytelling) would find their plane hijacked and re-routed to Mogadishu where they’d be forced into the employ of Somali pirates. But no they land safely in Abu Dhabi where they’re given individual Maybachs a throng of dutiful manservants and a $22 000/night hotel suite — all the accoutrements required to gain the proper perspective on things.
By this point King has clearly lost his perspective unaware of how monstrously self-absorbed and entitled he's allowed his film's four protagonists to become or how their unapologetic opulence might appear to a world still struggling to emerge from economic armageddon. He's too preoccupied with mounting his female version of Ishtar — replete with awful puns involving camel toes and "Lawrence of my labia" and an atrocious karaoke performance of the feminist anthem "I Am Woman Here Me Roar" — to notice how badly things have gone awry and how badly his film reflects upon women.
And it gets worse. Before leaving Abu Dhabi the increasingly loathsome quartet become involved in a mishap that ends with Samantha (now effectively reduced to a walking hormone joke) in the middle of a busy town square holding up a package of condoms thrusting her hips and shouting "I have sex!!!" as the Muslim call to prayer is sounded. Sex and the City 2 won't win any awards (save for a few Razzies) but it could become an effective inspirational video for suicide bombers — provided they can endure the film's two-and-a-half hour running time of course.
The duo has snagged honours at the 66th annual Theatre World Awards, and will pick up the prizes at an invitation-only gala on 8 June (10).
Johansson was honoured for her role in A View from The Bridge and Urie claimed his prize for The Temperamentals.
Other actors singled out include: Nina Arianda (Venus in Fur), Chris Chalk (Fences), Bill Heck (The Orphans' Home Cycle) and Jon Michael Hill (Superior Donuts).