It's remarkable how much Veronica Mars feels like coming home again. Ms. Mars has had nearly a decade off from her detective duties, but the character and the series at large saunters right back into form with such a confident swagger, it feels like she never really left at all.
The product of a now infamous Kickstarter campaign, Veronica Mars is the film sequel to the much beloved but scarcely watched CW series that followed the adventures of a teenage private eye. Mars solved mysteries surrounding the seedy denizens of the fictional Neptune California, a beach town where the rich socialites and working class heroes clash quite frequently and often violently. The series was a terrific mix of Nancy Drew and Raymond Chandler, give or take a Buffy, airing for three seasons before being canceled. But thanks to creator Rob Thomas' audacious Kickstarter and a brewing cult of fans, Veronica Mars has been given a second chance at life, a chance that precious few shows receive.
The film picks up with Veronica (Kristen Bell) knocking on 30's door and enjoying a comfortable life in New York City with her long time boyfriend Piz (Chris Lowell). Her youthful gumshoe years are well behind her, but her old life comes back into swing when former flame Logan Echolls (Jason Dohring) is charged with murdering his starlet girlfriend. Veronica tells herself that she only wants to consult a friend, but Neptune's magnetic pull becomes too hard to resist.
The film is a ton of fun. It's still as whip smart as the series ever was, and the quips whiz by effortlessly and constantly... often right over the heads of those who aren't already baptized by the gospel of Veronica. The show quickly falls back into familiar rhythms, and the nine years away haven't dulled the character's verbal barbs. Prepare to be bathed in waves of wit. Even outside of the near-relentless banter, the show maintains a nice and heavy sense of tension when the mystery sets in, and things get serious. While the actual mystery itself is far from brilliant, it's still engaging enough to entertain. In any case, the main course here is the characters, and they are as stellar as ever. Keith Mars (the fantastic Enrico Colantoni) is still the easy frontrunner for dad of the millennium.
The most remarkable thing about the film is how much it feels like the Veronica Mars of old, and that's the best compliment we can pay it. The returning cast members slip into their old roles with so much ease, and the film never feels like it's straining to regain that old Neptune spark. It turns out that watching a near 30 Veronica is just as much fun as watching the sleuth in her teenage years. And the fact that the show's general formula doesn't feel out of place now that we're following a load of late 20-somethings instead of high schoolers probably says something about how smartly and strongly crafted the original show was in the first place.
Rob Thomas clearly isn't trying to broaden his formula to catch new fans, and it doesn't make sense that he'd do so anyway. This is clearly a film built from the ground up for Veronica Mars fans, as it should be. A hefty intro montage at the beginning tries its best to get newcomers caught up on the three seasons of the television show, but if you didn't spend at least a couple hours cruising along the seedy streets of Neptune all those years ago, some of the film's charm might be lost on you.
The Veronica Mars film, at its core, is basically a damned good two hour episode of the original series. Now, that's not exactly ambitious, but the fans that put down their hard earned money to fund the film weren't necessarily paying for ambition. What we have here is unquestionably and purely Veronica Mars. So self-assured and comfortable in it's own celluloid skin, it's a film that dutifully embraces everything that made that series so brilliant and fun in the first place. Welcome home, Veronica, it's been a while.
If there’s one positive thing about Delta Farce is that is actually follows a tried and true comedy formula-- namely the fish-out-of-water scenario—with moderate success. Down on his luck after losing his job and his girlfriend on the same day Larry (of the Cable Guy variety) decides to join his neighbor Bill (Bill Engvall) and his combat-happy buddy Everett (DJ Qualls) for a relaxing weekend of playing army. But when the three unlucky guys are mistaken for Army Reservists they’re loaded onto an army plane headed for Iraq--and mistakenly ejected in a Humvee somewhere over Mexico. Don’t ask. Convinced they’re actually in the Middle East the clueless wannabe soldiers turn into Magnificent Seven meets the Three Amigos and save a rural village from a siege of bandits proving to be real heroes after all. If you need to laugh at the war on terror you might as well do it with Larry the Cable Guy. He serves up his particular brand of comedy making light of a bad situation. In fact not only does he come off somewhat sympathetically as the hapless boob with a heart of gold he also gets the hot chick at the end of the movie. Go Larry! As his accomplice fellow stand-up Bill Engvall follows his own comic routine playing a hen-pecked trailer trash denizen who views this adventure as a great way to escape his overbearing wife and snotty kids. As the third doofus DJ Qualls (Hustle & Flow) plays a trigger-happy wannabe jarhead who sees this opportunity as a way to gain some street cred. And in a supporting role Danny Trejo a Robert Rodriguez regular pokes fun at his scary looks as the leader of the marauding bandits aptly named Carlos Santana. Yes the jokes are plenty. Director C.B.Harding is obviously a Larry the Cable Guy crony since his only other feature film credit is the Blue Collar Comedy Tour movie. Honestly all that’s really required of him is to point and shoot with maybe a few action sequences to coordinate here and there. But while the formula works as a cohesive movie having to sit through Delta Farce’s comic stylings is the tricky part. What it really boils down to is whether you’re a fan of Larry the Cable Guy. If so you’ll (I would hope) realize you’re watching a pretty stupid comedy but will laugh in the appropriate parts. If not I would really wonder what the heck you are doing sitting in the theater.
The Hoover household is something of an insane asylum but nobody would ever knowingly hurt anyone except him- or herself. Richard (Greg Kinnear) is a deluded optimist and motivational speaker who only motivates himself. His wife Sheryl (Toni Collette) unwittingly reinforces his behavior by placating him and hiding her frustration. Sheryl’s dad (Alan Arkin) an acid-tongued old-timer who’s hooked on heroin and brother (Steve Carell) a gay suicidal Proust scholar who is the epitome of the “crazy uncle” cliché are also aboard the crazy train. Richard and Sheryl’s son Dwayne (Paul Dano) is a Nietzsche follower who only communicates with his family by writing. Then there’s the daughter Olive (Abigail Breslin) the family’s glue. All she wants is to compete in the Little Miss Sunshine beauty pageant so the Hoovers all load their baggage onto the family’s VW bus--which barely runs--and embark on a long bumpy ride to California.
If only there were a Best Ensemble Oscar Sunshine’s cast would…get snubbed for being too quirky but still. And by constantly upstaging one another the actors may have further hurt their chances. It is this no ego effect however that is central to the movie’s theme and success. While all the performances are nothing short of superb the three showstoppers are Collette Carell and Breslin. Aussie Collette continues her brilliantly understated career with this turn as a well-meaning Everymom who ultimately only wants to nurture her family. Carell perhaps the only one with a fighting chance at an Oscar nod shows us why he’s really a megastar: he can act with a complete about-face from his usual roles as evidence. (Lest we forget this is a guy who up until recently was a fake-news correspondent!) And Breslin (Signs) is simply an amazing young talent who provides all the wide-eyed caffeine the film needs and then some but does so with precious maturity. It’s as if she inspired the title. There’s a quirky behind-the-scenes story too: Sunshine’s directors--plural--are married to one another! Husband-and-wife duo Jonathan Dayton and Valerie Faris are widely known music-video directors but not the type who would make their big-screen transition with something like say Torque; thankfully they chose substance over style. If not for these very gifted directors Sunshine could’ve come unhinged where so many pedestrian “dysfunctional family” indies do: by turning the characters each with a laundry list of defining quirks into caricatures. But thanks in equal parts to the direction acting and flawless script (from first-timer Michael Arndt) there is so much truth to each character. Most notable though is the linear nature of the story; these directors clearly don’t need swooping twists to convey their themes and profundity and that is rare and remarkable. The climax with which it all culminates can only be described as unforgettable.
Larry the Cable Guy: Health Inspector opens with a man scratching his plumber’s-crack re-using a cotton swab to clean his ear and wearing the sleeveless shirt he uses as a towel. Naturally this is Larry (the Cable Guy) a health inspector. Halfheartedly inspecting the local food joints he’s leading the life that suits him well. But when his boss (Thomas F. Wilson) assigns him a serious-minded female partner (Iris Bahr) his world is turned upside down--or at least made less comfy. Larry’s called in to investigate “some fartin’ Jewish folks” at a swankier restaurant and learns that it’s not an isolated incident. While Larry’s unorthodox methods manage to arouse the interest of a waitress (Megyn Price) with bowel habits that he adores his tactics arouse the ire of the restaurateurs he investigates and it costs him his job. Now he’s forced to do whatever it takes to prove his innocence. Even the D-listers here must’ve gone straight to confession upon accepting these roles to help cushion their bank accounts. Let’s start with Larry the Cable Guy (of the Blue Collar Comedy Tour “Git-R-Done” fame) who is one of the most successful stand-up comics today. He’s right in his element seemingly with fart blanche on toilet humor but to the unconverted he’s a little more than grating. Speaking of grating the (hopefully) affected voice of Bahr makes the movie mostly unlistenable in addition to being unwatchable. But take pity on her for this is no way to jumpstart a movie career. Tony Hale clearly still reeling from the potential cancellation of TV’s Arrested Development (on which he plays Buster) also lowers his star and integrity with an ambiguous character here. And Joe Pantoliano shows his face. The once great character actor reaches a new low with this one even if his performance isn’t all bad. Health Inspector masters the art of the fart. But more disgusting than the settings with which the farts are juxtaposed is the ad nauseam (pun intended) level of over-usage. So congratulations go to along with fart Yoda Larry the Cable Guy director Trent Cooper who makes his feature directorial debut. And might we add what a fart-tastic debut it is! But it’s not all farts ladies and gentleman--all forms of gross-out humor are exploited unlike ever before. On the er serious side the collection of running jokes adds to a few legit laughs. Cooper helms a story that naturally doesn’t work deferring instead to Larry’s natural um charisma. The script offers no segue into Larry’s stand-up persona but anyone who sees this here flick ain’t lookin’ for no dang Oscar winner. Clearly Health Inspector will appeal to Larry’s following but is not meant for those of sound mind.