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.
In this latest doomsday pic Earth's inner core has stopped rotating a situation that will eventually cause the planet's electromagnetic fields to collapse. If it isn't fixed pronto static charges will create "super storms" that will generate hundreds of lightening strikes per square mile and cause microwave radiation to ultimately cook the planet. Government and military officials conjure up a team of scientists led by geophysicist Josh Keyes (Aaron Eckhart) to travel to the planet's core and get it spinning again. Accompanying them are geophysicist Dr. Zimsky (Stanley Tucci) atomic weapons expert Dr. Levesque (Tchéky Karyo) "terranauts" Major Childs (Hilary Swank) and Commander Iverson (Bruce Greenwood) and Dr. Brazzelton (Delroy Lindo)--the renegade scientist who built the subterranean vessel. Their mission is to travel to the center of the earth to detonate a nuclear device that will hopefully jump-start the core and save the world. Like the "terranauts" grinding their way through Earth's layers to get to the planet's core The Core laboriously plods through the storyline to get to its climax--and both are equally uneventful.
Despite a really corny scene in which he demonstrates what will happen to the planet by torching some sort of fruit on a fork Eckhart (Possession) is believable as the sensible Keyes. Co-star Swank (Insomnia) meanwhile brings intensity to the role of fledgling astronaut Childs. It is Tucci (Big Trouble) however who creates the film's most interesting character the arrogant Dr. Zimsky. The diva-esque geophysicist heads to the center of the earth in style with his Louis Vuitton monogrammed canvas bag and an endless supply of cigarettes--making him politically--and refreshingly--incorrect. You'll love how he pompously records the mission's progress in a Carl Sagan-style narration. Back at mission control D.J. Qualls' computer-hacking character Rat mirrors a recent report describing the characteristics of computer virus writers: Male. Obsessed with computers. Lacking a girlfriend. Aged 14 to 34. Capable of sowing chaos worldwide. Qualls (The New Guy) couldn't be more suited for this digital graffiti artist role.
Director Jon Amiel helps define the film's main characters by weaving vignettes of their everyday lives throughout the first half of the film but so much effort is devoted to exploring their individual backgrounds that relationships among the team members are never established. The minor characters are like extras in a Star Trek episode--they're just onscreen to die. The Core also fizzles as a believable disaster movie because of its flimsy scientific reasoning even if you try to suspend your disbelief for the sake of cinematic "escapism." While I can make myself believe for example that a government-created weapon of mass destruction is to blame for the planet's imminent annihilation I cannot buy into the notion that this high-tech vessel was built by a renegade scientist in his backyard and is able to withstand the rough trip to the center of the earth. Although the film's original November release date was delayed because more time was needed to complete the special effects don't expect to be visually dazzled by the voyage. Most of what we see is what the "terranauts" see on their screen: spotty black-and-white renditions of sharp jagged rock. Scenes of the Roman Coliseum getting zapped by lightening and San Francisco's Golden Gate Bridge melting aren't convincing either.