Skewering the politics of the left--and Michael Moore in particular--is not a terrible idea for comedy but American Carol doesn’t do it very successfully. Using the hackneyed uninspired approach of spoofing Dickens’ A Christmas Carol director David Zucker’s version has the Ghosts of John F. Kennedy (Chriss Anglin) General George S. Patton (Kelsey Grammer) and George Washington (Jon Voight) visiting a liberal documentary filmmaker named Michael Malone (Kevin Farley) in order to set him straight and teach him not to hate America but to embrace it in all its glory. Their goal is to stop him from helping a group of Islamic suicide bombers make a new recruitment film. In a series of gags American Carol presents Malone as a man who uses the medium to bash his country. He is portrayed as sympathetic to Nazis and Hitler responsible for 9/11 in bed with Middle Eastern terrorists--wrong on every possible issue and overweight to boot. After pointing out all his perceived evil the ghosts try to get Moore er Malone to see the light and change his ways. Apparently David Zucker--aware most of Hollywood leans to the left--got a list of actors known to be supporters of the GOP and hired them all. Voight Grammer James Woods Kevin Sorbo Dennis Hopper Robert Davi ET’s Mary Hart country singer Trace Adkins and even Zucker veteran Leslie Nielsen signed up to bash Moore using a sledgehammer approach as a substitute for the lack of a clever script. Occasionally thanks to an inspired casting choice here and there Carol is kind of amusing such as in a scene in which Malone and Rosie O’Connell (get it?) guest on the O’Reilly Factor. With Bill O’Reilly playing himself (and doing it well) actress Vicki Browne really nails Rosie who is presented as so far left she makes Moore look like Ronald Reagan. As Malone Farley (younger brother of the late Chris Farley) looks reasonably like Moore but doesn’t really get the mannerisms right. It’s not enough to try and get by just by putting on a baseball cap and glasses and hoping for the best. Of the rest Grammer comes off well as Patton delivering his lines with a lot more panache than they deserve. You know what kind of movie you’re watching when even Gary Coleman and Paris Hilton turn up for a bit. Zucker--whose films Airplane! and the The Naked Gun series specialize in inspired sight gags--seems to have forgotten how to make this style of throw-it-to-the-wall-and-see-if-it-sticks style of comedy work. Surprisingly the jokes are mostly verbal in this outing and the whole comic soufflé falls flat. Also the events of 9/11 are still too close to serve as a gateway for a few of the gags employed here. The premise is promising but the Michael Malone/Moore character is so far out he doesn’t resemble reality much less the famous Moore. Blaming him for all the ills of the world may be cathartic for the ultra-conservative base Zucker is apparently aiming An American Carol at but there needs to be more than just a kernel of truth to make these jokes zing. Instead what could have been an amusing riff looks more like a propaganda film out to destroy Moore rather than spoof him.
The premise to Old School sounds a bit cringe-worthy when you first hear it--visions of sexist frat house humor wild parties buxom babes and beer bongs dance through your head. OK maybe there's a little of that going on in Old School but the heart of the film is surprisingly more centered than your average balls-out comedy. A trio of twentysomething friends have found themselves at a crossroads in their lives. Mitch (Luke Wilson) a promising real estate lawyer unfortunately catches his girlfriend (Juliette Lewis) in a compromising position. Frank (Will Ferrell) a lovable doof marries the sweet Marissa (Perrey Reeves) before realizing he made a big mistake and Beanie (Vince Vaughn) the owner of a successful chain of stereo stores refuses to believe he is the only true family man of the three. When Mitch rents a house near their old alma mater Beanie sees it as a chance to recapture some of that fun-filled college exuberance and turns the house into a fraternity which accepts not just students but any guys out there who want to escape adulthood's travails. The film's antagonist comes in the form of an uptight university dean Pritchard (Jeremy Piven) who bears an old grudge against our intrepid trio and does everything he can to shut the house down. But true brotherhood prevails.
Old School works far better than it should thanks to the chemistry of the three leads. Each has his own particular brand of comedy and the combination keeps you rolling in the aisles. Providing physical comedy Ferrell's Frank a goofy college wild man tamed by matrimony is wonderfully outrageous (but someone should tell him to keep his clothes on). Ferrell also shows a dramatic flair especially when dealing with his troubled marriage. Who would have thought this Saturday Night Live alum could act? Vaughn shows his infinite skill at zingin' out quick-witted one-liners (as he does so well in Swingers). Yet his smarmy Beanie also hints that he loves his life as a stable dad more than he cares to admit. Then there's the likable straight man Mitch a character the easygoing Wilson has perfected to a tee ever since his debut in Bottle Rocket opposite wacky brother Owen. Piven who usually plays wild men in films such as PCU and Very Bad Things gets to try on a different hat as Pritchard the nerd who grew up to be the dean of the school--and it looks like he had fun.
Writer/director Todd Phillips obviously enjoyed his college years. His first studio-released film the 2000 Road Trip offered a raucous yet refreshing look at college life that didn't necessarily go for the gross-out humor at every turn (although some turns were certainly made especially given star Tom Green). With Old School Phillips has matured--a little. Thankfully the film doesn't go for the joke for the joke's sake but remains rooted in how these three men are dealing with the pressures of adult responsibilities coming up with their somewhat misguided remedy to those pressures. But it's still a comedy about aging frat boys. You know going in there's going to be a wild party or two some contemptible drunken behavior perhaps even a hazing scene where new recruits have cinder blocks tied to their nether regions. It happens. Phillips also feels the need to incorporate a clichéd romantic twist around Mitch and a girl he had a crush on in high school. A sweet gesture but not nearly as entertaining as watching three grown men slosh around in K-Y jelly in a female wrestling match.