Playing second fiddle to a more famous sibling can be rough. Just ask Fred Claus (Vaughn) a regular guy who has had to grow up under the shadow of his little brother Nicholas Claus (Paul Giamatti) aka Santa. That’s a big shadow to say the least both figuratively and literally. As an adult Fred has pretty much steered clear of his family but when he finds himself in dire need of some fast cash he calls his brother. Pleased as punch to hear from him Nicholas nonetheless makes him a deal: If he comes up to the North Pole for a visit and to help out the few days before Christmas then Fred can have the money. Fred reluctantly agrees and soon he’s being whisked off in Santa’s sleigh by head elf Willie (John Michael Higgins). But once Fred gets to the North Pole nothing seems to go right and soon he is the cause of much chaos--which unbeknownst to Fred causes Nicholas even more stress since his North Pole operation is one step away from being shut down by a cold-hearted efficiency expert (Kevin Spacey). Can Fred quit being bitter in time to save his brother’s livelihood? Of course he can. Hmmm Vince Vaughn minus the R-rated Wedding Crashers/Old School irreverence? It’s a stretch. Seeing the comic actor playing it PG is a little weird but you might enjoy how Vaughn infuses his unique energy into Fred Claus. From getting all the elves to boogie down in Santa’s workshop to going on one rant after another (on his brother: “He’s a clown a megalomaniac a fame junkie!”) to pilfering money on the street and then being chased by Salvation Army Santas it’s all good. Giamatti too seems a little out of his comfort zone as the saintly St. Nick. The actor who usually plays such endearing sad sacks has already played against type to great effect this year as the maniacal bad guy in Shoot ‘Em Up but he isn't nearly as successful in doing the flipside of that in Fred Claus. And what the hell is Kevin Spacey doing in this? As the villain of the film he fills the shoes nicely but he is almost too good at it (natch) for such a feel-good family film. Even Higgins--a character actor who is usually so hilarious in films such as The Break Up and all of Christopher Guest’s movies—has to shed the cheekiness and sugar himself up for Fred Claus. There’s also Rachel Weisz as Fred’s beleaguered girlfriend (you heard right) and Kathy Bates as the Claus boys’ mother who always sees Fred as inferior to her other son to fill out a cast of big names doing family fare. Director David Dobkin is a Vince Vaughn favorite having directed him in Wedding Crashers and Clay Pigeons but like his muse Dobkin seems a little out of place guiding this material. Granted Dobkin creates a pretty magical North Pole complete with an entire city of little dwellings a Frosty Tavern and a huge domed Santa’s Workshop. The montage of Fred delivering presents on Christmas Eve—falling down chimneys stuffing cookies in his face zooming around in the sleigh—is also well done. But overall Fred Claus is a Vaughn vehicle—even as sugary sweet and family-friendly as it is--and all Dobkin really does is turn the camera on and let the man do his stuff. Dan Fogelman's script is also so very bland full of any number of holes and only picks up once Vaughn starts to improvise. Bottom line: If you’re looking to take the kids to a sweet Christmas movie and are a Vince Vaughn fan then Fred Claus is for you.
In 1930 Mrs. Erlynne (Helen Hunt) an American socialite in search of debt relief and a fresh start transfers to Amalfi Italy. Her reputation as an indiscriminant adulterer comes along and she’s quickly the talk of the small town. Amidst her misadventures with married men she stumbles upon Robert (Mark Umbers) and Meg (Scarlett Johansson) a young blissfully married couple from America. Robert immediately strikes up a relationship with the older temptress and it’s immediately assumed by the resident paparazzi—a.k.a. citizens with binoculars and nothing better to do—that he is the latest prey. Meanwhile Mrs. Erlynne is being courted by another wealthier man named Tuppy (Tom Wilkinson) who can’t help but fall for her despite tepid interest on her end. When Meg learns of her husband’s rumored paramour she reacts hastily uncovering surprises that shock and affect all involved. The acting is where A Good Woman suffers. The female leads while both rightfully esteemed actresses are both miscast. Hunt’s Mrs. Erlynne has a world-wise and profound retort for every question thrown her way but her delivery just doesn’t fit her words; she seems uninspired but it’s much more likely her trying too hard. Johansson meanwhile is an anachronism in the film: She is an impossible sell for a reason having nothing to do with physical beauty or acting chops—she’s completely and simply at long last out of her element. But Wilkinson as always shines here as the pathetic yet adorable Tuppy. It’s perfectly plausible to see him in 1930s Italy—or any setting whatsoever. His eloquence befits the time and place and he makes his sad little man engaging funny and relatable even today. Director Mike Barker is charged with bringing A Good Woman adapted from Oscar Wilde’s play Lady Windermere’s Fan to the big screen. It’s a tall order to adapt someone as revered as Wilde especially on the heels of the widely lauded adaptation of Jane Austen’s Pride and Prejudice but Barker comes through for the most part. Luckily for him the lush mesmerizing scenery of the setting is at the forefront. And the director would’ve succeeded in transporting us back to the whole exotic pristine milieu had it not been for the aforementioned actresses’ inabilities to do the same. Nonetheless he holds up his end retelling a typically complex Wilde tale of love and narrow-mindedness without butchering or overstating the message.