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.
Sucker Punch a sprawling and convoluted action sci-fi fantasy is director Zack Snyder’s first “original” film in that it’s based on a script Snyder co-wrote (along with Steve Shibuya) and not a graphic novel or a previous movie. But to anyone who has seen Snyder’s two previous live-action films 300 and Watchmen it will feel awfully familiar: His now-trademark flourishes – gorgeous visuals elaborate action sequences a desaturated color palette a CGI-airbrushed “heightened reality ” abundant slo-mo and fatal self-seriousness – are all conspicuously on display.
It’s all there in fact in Sucker Punch’s opening sequence: a very intense and ultra-dramatic montage set to a haunting cover of the Eurythmics’ "Sweet Dreams" and slowed down to a crawl so that we may better admire every super-stylized detail of Snyder’s exquisite handiwork. It depicts a series of wrenching domestic tragedies that result in the film’s teenage heroine Babydoll (Emily Browning) being shipped off to an all-girls mental hospital by her malevolent stepfather (Gerard Plunkett) properly setting the stage for the ensuing melodrama.
To ensure Babydoll doesn’t act up again evil stepdaddy bribes a corrupt orderly (Oscar Isaac) into having the traumatized but otherwise mentally competent girl lobotomized without the required consent of the facility’s resident psychiatrist Dr. Gorski (Carla Gugino). The year is 1967 and lobotomies though still legal are exceedingly rare; as such they must wait five days for the local lobotomizing physician (Jon Hamm) to come and turn Babydoll into a very pretty vegetable. Which is more than enough time for her to retreat into a dreamworld and concoct a vivid fantasy in which she and four scantily clad mates – Rocket (Jena Malone) Sweat Pea (Abbie Cornish) Blondie (Vanessa Hudgens) Amber (Jamie Chung) – conspire to escape the brothel in which they’re imprisoned.
The meat of the escape plan calls for a series of quests in which Babydoll and the gang battle giant samurais World War I zombie troopers futuristic alien robots dragons et al – all while dressed in sleek variants of the archetypal hot chick Halloween costumes (sexy nurse sexy schoolgirl sexy sanitation worker etc.). The sequences are well-choreographed and visually stimulating but have very little connection to the plot – they’re more like beautiful and disposable diversions grandiose music videos in which Snyder is able to cram elements from a broad spectrum of pop culture influences from Hong Kong cinema and anime to Moulin Rouge and Heavy Metal without any apparent rules or logic to bind his fertile imagination.
All of which wouldn’t be so bad – honestly it wouldn’t – if Sucker Punch weren’t so punishingly maudlin. Nary a scene goes by in which some poor girl isn’t threatened or smacked or nearly raped. (All the women in the film are victims; the men with the exception of Scott Glenn's imaginary character monsters.) A movie with hot chicks and guns and orcs and robots and zombies should at the very least be fun. But Snyder’s film is dour and pretentious to the point of pain an overstuffed emo tragedy bracketed by ponderous voiceover about demons and monsters and how all of us have the weapons within us to defeat them. Or something like that. Sucker Punch is such a molten-hot mess that whatever Important Message it's supposed to convey ends up hopelessly garbled by the time the end credits roll.
Heaven. Hell. Us humans in the middle. It's all very complicated. But John Constantine (Keanu Reeves) seems to have a handle on it. Born with a gift he says no human should ever have he has the ability to see what he calls "half-breeds"--angels and demons that walk the earth in human skin (and apparently there are a lot of them). Of course the horror of it is too much to bear and Constantine tries to take his own life. But he fails. Now having been to hell and back again quite literally Constantine is marked as an attempted suicide with a temporary lease on life. He patrols the earthly border between heaven and hell acting as an exorcist of sorts. Of course the guy isn't doing it because he feels empathy for the human race or anything. It's for purely selfish reasons. He hopes that if he sends the devil's foot soldiers back to the depths he'll gain some kind of redemption a free get-out-of-jail card so to speak. Constantine's attitude changes however when a skeptical police detective Angela (Rachel Weisz) enlists his help in solving the mysterious death of her beloved twin sister. They end up uncovering a twisted master plan brewing between the demons and angels which could bring about a catastrophic series of otherworldly events. Perfect.
John Constantine is a little like The Matrix's Neo--an ultra-cool but tormented man of little words with a sardonic fatalistic outlook on life who kicks a myriad of nasty-looking demons (instead of a myriad of nasty-looking machines) back from whence they came. Yes Reeves has done this before but that's because he's good at it. You can't blame him for sticking with something that works. Weisz also holds her own as the devoutly religious Angela who nonetheless has a hard time believing there are actual angels and demons running around among us. That is of course until she spends about 10 minutes with Constantine and sees just how real they are. As far as the rest of the humans in the film Shia LaBeouf (Holes) does a nice comical turn as Constantine's sidekick and protégé while Djimon Hounsou (In America) works his voodoo mojo as a witch doctor who has a long-standing if strained relationship with Constantine. The not-so-human counterparts are equally intriguing. Peter Stormare (Fargo) delivers a somewhat over-the-top but devilishly eccentric performance as Satan. Tilda Swinton (The Deep End) dons the wings of the arch-angel Gabriel to whom Constantine is always asking for a reprieve but who has got her own agenda.
Based on the DC Comics/Vertigo comic-book Hellblazer Constantine is demonic eye candy. Obviously inspired by the many music videos he's helmed in the past director Francis Lawrence making his feature film debut paints a pretty dark and moody world with shadowy wet rat-infested (or cockroach-infested) corners that hide the horrific demon half-breeds as well as all other kinds of terrible baddies. Then when we get into Hades itself where the demons and seplavites--a sub-genre of the damned who are sightless mindless soul eaters--prowl it's an apocalyptic landscape. Lovely place. Unfortunately the script isn't nearly as stimulating. It must be an arduous task adapting a series of comic books so to his credit screenwriter Kevin Brodbin does do a nice job introducing us to Constantine and his world. But Brodbin seems to have incorporated too much. As the action escalates more and more plot points and characters are thrown in complicating matters. By the time the long-winded climax is over you're exhausted.
Looney Tunes: Back in Action revisits an age-old Tunes question: Why does the affable Bugs reap all the fame and glory while the egocentric Daffy gets shafted again and again? Our duck friend quite frankly has had it up to his skinny neck playing second fiddle to the carrot muncher. All Daffy wants is a little recognition from the studio but the brothers Warner (actual twin brothers as we come to find out) decide instead to let Daffy out of his contract on the advice of their no-nonsense VP of comedy Kate Houghton (Jenna Elfman). Bugs however knows they're making a mistake. Even though Daff bears the brunt of the abuse Looney Tunes would fail without him and Bugs convinces the powers that be they need the nutty mallard. If the plot had only followed this thread--perhaps showing Daffy on the skids--then maybe the film wouldn't have spiraled into Looneyville. Unfortunately Daffy ends up hooking up with the hunky D.J. Drake (Brendan Fraser) a studio security guard who finds out that his famous movie star father Damian Drake (Timothy Dalton) is really a secret agent hunting for a mysterious diamond known as the Blue Monkey a supernatural gem that can turn the planet's population into monkeys. The evil head of the Acme Corporation Mr. Chairman (Steve Martin) wants the diamond for his own diabolical plans and he's kidnapped D.J.'s dad in an effort to get it. Now the gang has to get the diamond save D.J.'s dad and of course save the world.
It might be a little hard to act subtly around cartoon characters but these aren't your ordinary cutesy Mickey Mouse types. Bugs Daffy Porky Yosemite Sam and Foghorn Leghorn are pros at comic timing able to spar with the best of them throw out zingers without a second thought and slay you with a droll glance at the camera. It isn't really necessary for the human actors to match their madcap-ness; just reacting would have sufficed. Fraser comes off the best of the human bunch; since he's had practice (Monkeybone) he easily interacts with his animated co-stars and deftly handles the doubletakes and jabs at pop culture. Elfman on the other hand sputters and goes bug-eyed every time she encounters silliness. She looks uncomfortable doing the green screen thing especially when she's trying to look natural when peeling a distraught duck from around her waist. Martin's highly anticipated turn as Mr. Chairman turns out to be the biggest disappointment. The over-the-top character is reminiscent of Martin's hysterically funny Rupert the Monkeyboy in 1988's Dirty Rotten Scoundrels but Martin turns Mr. Chairman--an angry schoolboy with knee socks and matted-down hair who never grew up--into a caricature of ridiculous proportions and unlike Rupert who came in small hilarious doses Mr. Chairman gets very tiresome very quickly.
Back in Action's animation is well done more engaging and ambitious than its 1996 predecessor Space Jam in which the action mostly took place in Looney Tunes land; here animated characters go the Who Framed Roger Rabbit? route and Bugs Daffy and the rest coexist harmoniously with humans in the real world. But despite its aspirations Back in Action leaves out vital elements that made Space Jam appealing. While the earlier film stuck to a simple plot Back in Action guided by director Joe Dante (Small Soldiers The 'Burbs) tries too hard to keep things wild and wacky while incorporating elements of '60s heist pics and action-adventure scenes and in the process loses sight of the most important ingredient in any kids movie: the story. Tykes may have limited attention spans but if the story's good they will watch. Granted some individual bits are laugh-out-loud funny particularly the scene in the Warner Bros. commissary where a stuttering Porky Pig complains about being politically incorrect with Speedy Gonzales while an animated Shaggy and Scooby-Doo berate actor Matthew Lillard for playing Shaggy as such a bonehead in the live-action Scooby-Doo. These scenes prove that if any cartoon characters could pass themselves off as real celebrities in the entertainment industry the gang from Looney Tunes could but moments like these simply can't overcome a contrived plot and juvenile antics.