The movie tagline sort of sums it up: "Four guys from the suburbs hit the road...and the road hits back." The four middle-aged friends who like to jump on their motorcylces and go riding around once a week are: Doug (Tim Allen) a dentist embarrassed by his job; Bobby (Martin Lawrence) a henpecked husband who wants to break away from being a plumber; Dudley (William H. Macy) a mild-mannered computer programmer and resident geek; and finally Woody (John Travolta) an entrepreneur with seemingly the most going for him. In actuality Woody is about to hit rock bottom but rather than be honest with his friends he convinces them all to hit the open road with him--to feel the wind in their hair so to speak. And as they go looking for adventure they soon find that they’ve embarked on a journey they will never forget. Uh-huh. Who would have thought these four actors would make a movie together? Casting Wild Hogs looked like the best part about making the movie as the producers probably sat around coming up with different variations (wonder who else they considered--Tom Hanks? Steve Carell?) Comedy veterans Allen and Lawrence have fun riffing on one another doing their shtick here and there while Travolta (the only real biker of the bunch) and Macy easily keep up with the antics. For the most part these guys click but I’m sure everyone did this purely for the money—and the Harleys. Ray Liotta gets to play the menacing villain once again as the leader of a motorcycle gang who has it out for our hapless quartet. Of course this time Liotta plays it for laughs and does a nice job with it. Even Marisa Tomei makes an appearance as a small town denizen who falls for Macy’s Dudley as the boys end up defending the town from Liotta and his thugs Magnificent Seven-style. You can see every plot point coming a mile away plus a few director Walt Becker probably didn’t even know were in there. But honestly from the guy who directed Van Wilder what did you expect? Becker is handy with a camera and totally knows where the film’s bread is buttered focusing all his energy and attention on his four stars. Unfortunately in doing so Wild Hogs mostly misses out on the poignancy of say a City Slickers even though it tries real hard to get us to connect with these middle-aged men trying to recapture youth--or whatever. But listen this isn’t supposed to change the world; Wild Hogs is just pure dumb fun about a group of guys wearing leather and riding hogs. Period.
Phil Weston (Ferrell) is a kindly fellow who owns and runs a vitamin store has a lovely wife (Kate Walsh) and son and has some serious issues with his father Buck (Robert Duvall). All his life Phil has had to endure his father's over-the-top competitive nature and he always falling short of the mark. When Phil decides to coach his 10-year-old son's soccer team he once again goes up against Buck who coaches his own young son on the top team in the league. Of course Phil's team is the worst team on the league but that doesn't matter. Something suddenly snaps in Phil and he sees a chance to settle some old scores with the old man. He starts using extreme measures to try to whip his young charges into shape. They include getting Mike Ditka as an assistant coach (played by the real ex-football coach oddly enough) bringing on two Italian whiz kids as secret weapons and drinking lots and lots of coffee (trust me it works). Phil can taste his first real shot at victory and will stop at nothing to win the championship trophy.
Some of you might think Ferrell's antics are wearing a little thin that maybe he's a little overrated and overexposed. But I'm not one of them. Ferrell could read a telephone book and I'd laugh. So watching him once again play a hapless bighearted loser--who is pushed to the edge so much so that he berates children calls the formidable Ditka a "Juice-box boy" and melts right on down to the nub--is another treat for me. Of course much like Walter Matthau in Bad News Bears Ferrell has some help from his younger costars. The misfit soccer team includes all the different types: a diminutive fireplug (Elliot Cho) whose lesbian mothers (played hilariously by Rachael Harris and Laura Kightlinger) keep insisting is "shy"; a wisecracker (Steven Anthony Lawrence) with a serious overbite; and of course Phil's own sweet son Sam (Dylan McLaughlin) who just wants to have fun. Ditka also seems to be having a good time in all his bullying glory. Duvall however doesn't really have much to do except throw his weight around a bit--and perhaps relive some of his The Great Santini moments.
Kicking & Screaming has a couple of things going for it. The father-son and underdog themes are tried and true plot contrivances that inherently work because of the ultimate payoffs. Director Jesse Dylan (American Wedding) along with the writing team of Leo Benvenuti and Steve Rudnick (The Santa Clause) knows this and exploit the machinations to their fullest capabilities. You want Phil's team to win at any costs but of course you want them all to learn a big lesson. Ho hum. Unlike the charming Parenthood or the irreverent Bad News Bears Kicking & Screaming unfortunately caters to the formulaic a tad too much. Save for a few comic bursts from its lead player it never really finds its own individuality.
After FBI agents Kevin (Shawn Wayans) and Marcus (Marlon Wayans) Copeland botch an undercover sting operation at a local NYC grocer they get relegated to acting as chauffeurs on their next assignment. The mission? To pick up heiresses Tiffany and Brittany Wilson from the airport and drive them to the Hamptons where the bureau will tail the socialites who are believed to be targets in a kidnapping plot. But it seems these two bungling agents can't even get this simple task right and they end up flipping the SUV over. Tiffany and Brittany refuse to go to the Hamptons with their faces scraped up and decide to recover in Manhattan. To avoid getting chewed out by the bureau chief yet again Marcus and Kevin decide to impersonate the heiresses and foil the kidnapping plot themselves. They call an in FBI buddy who happens to be a makeup genius and voila: the White Chicks are born. And with everyone getting collagen lip-enhancements the Copeland brothers are easily able to pass themselves off as the Wilson sisters. Don't worry too much about the plot; you'll be so fascinated by the Wayans in whiteface that you'll forget all about it.
Hilarious and rarely stepping out of character Shawn Wayan makes it easy to believe he's a white socialite clarifying his masculine mishaps such as chasing down a mugger with quips like "It's not just a bag it's Prada." And although both the Wayans make impressive white chicks Shawn definitely has the advantage in the physical department. As Brittany in the beach scene Shawn looks stunning in a mint-green sarong and a matching Pucci-inspired bathing suit and doesn't like any more manly than say Madonna. It's not surprising considering both actors dropped about 30 pounds each for the parts. Marlon Wayans meanwhile plays the role of Tiffany they more demure of the two sisters. Although the Wayans do resort to some hackneyed gender bending gags including a predictable date with an oversexed clueless male and the perils of a big chest the characters remain endearing because of the clichéd yarn they avoid. Although there is an all-girl sleepover party for example Brittany and Tiffany interact with their female friends in a very sweet manner rather than plot to get them out of their nighties and into the sack.
With too many writers to rattle off it's no wonder White Chicks' plot is so spotty. Getting top writing credits is director Keenen Ivory Wayans who manages to deliver a pretty hilarious comedy despite its really stupid storyline. One of the main reasons this film works is seeing the Wayans brothers in their special effects makeup which was done by Keith Vanderlaan and Greg Cannom. But unlike Cannom's work on Mrs. Doubtfire the Wayans feminine alter egos look womanly rather than drag queeny with their angular features molded into surprisingly soft ones. Don't be surprised if you find yourself overly preoccupied by the Wayans' appearance constantly looking for telltale signs of where the masks end or where the makeup doesn't blend right. There are also a few really funny scenes to distract you from the Wayans' faces including a club dance-off to Run D.M.C.'s "It's Tricky" and a mother-dissing match ("Oh my God you wanna talk about mothers?" Shawn exclaims.) But once the plot is resolved and the stars are back in their own skin moviegoers will snap back into the moment and realize "Oh right--there was a story behind all of this."
With college behind them East Great Falls High School alums Jim (Jason Biggs) and Michelle (Alyson Hannigan) decide the time is ripe for marriage. After an embarrassing restaurant proposal that involves under-the-table fellatio and a missing ring Michelle accepts and sets her sights on the perfect wedding ceremony. Jim and his best buds Finch (Eddie Kaye Thomas) and Kevin (Thomas Ian Nicholas) decide to leave Stifler (Seann William Scott) in the dark about the upcoming nuptials to avoid any possible calamities but it doesn't take long for the Stifmeister to figure things out. Stifler the only one of the gang who has not matured since high school lays on the charm--and the Lacoste sweaters--and quickly gains acceptance from Michelle's stuffy parents and her attractive sister Cadence (January Jones). The film basically revolves around Jim trying to turn Michelle's dream wedding into a reality while Stifler unintentionally foils his friend's every effort. American Wedding follows the same formula as its two predecessors and while there are some really funny gags here you can spot their setup from a mile away. When Stifler for example accidentally feeds Michelle's wedding band to a dog waits on it to pooh it out then scoops up the jewelry with a paper doily we are hardly flabbergasted when it is later mistaken for a truffle. And that just about sums up the movie: funny but formulaic.
In the first two American Pie movies Biggs's character Jim was always a key comedic player. For instance who could forget his Internet snafu with Nadia the foreign exchange student or the Crazy Glue incident at the beach house? But while American Wedding is all about Jim and Michelle's wedding Biggs and Hannigan take a back seat to the laughs here: they're the stressed-out grown-ups. Also turning in a more muted performance is Nicholas as pal Kevin who doesn't appear to have a purpose at all in this installment--although he does provide a bit of comic (albeit non-speaking) relief during Stifler's botched attempt at a bachelor party. Contrary to Jim Michelle and Kevin who have blossomed into somewhat dependable adults Scott's character Stifler has degenerated. Stifler is more crass and obnoxious than ever perhaps even a little too over-the-top. The actor whose performance stands out the most in this comedy is Thomas in the role of Finch. Thomas has taken the character's haughtiness and peculiarity to a new level fine tuning Finch's attributes and stylishly transforming him from a high school geek to a cool brainy college graduate. Eugene Levy who is back in the role of Jim's overly involved father but his shtick has become redundant. His only purpose in the films is to walk in on his son at every inopportune moment.
All three films in the American Pie series were penned by screenwriter Adam Herz and produced by Paul and Chris Weitz--who also served as directors on the original--but they have all gone through different directors; the J B Rogers-directed American Pie 2 and now American Wedding helmed by Jesse Dylan (How High). Like the second installment American Wedding has its moments and there are a handful of truly funny ones including a scene in which Jim shaves his pubic area and dumps the hair out the window where it blows towards a group of unsuspecting guests (and the cake). But unlike this particular instance most of the jokes suffer from overkill; the cameras keep rolling long after the yarn stops being funny. Others are stereotypical like Stifler's dance-off with a patron in a gay club while others including a midnight rendezvous in a dark hallway closet are predictable. But even though the film revolves around the now all-too-familiar characters Herz has matured them in a way that still makes them both amusing and endearing. Don't however look for Oz (Chris Klein) Heather (Mena Suvari) Vickie (Tara Reid) or Nadia (Shannon Elizabeth). The filmmakers believe these characters weren't needed since the story wasn't about them anymore but it would have been nice to mention them and what they were up to.