“My dick is going to get so wet tonight ” declares Costa the foul-mouthed ringleader of a trio of sex-starved teens in the opening moments of Project X the new “found-footage” comedy from director Nima Nourizadeh and producer Todd Phillips (The Hangover). Believe it or not this qualifies as one of his more charming moments in the film. All of 17 but blessed with an obnoxiousness lesser men would take decades to cultivate Costa (Oliver Cooper) is the perfect mascot for a film that makes no bones of its mostly prurient intentions proffering what is essentially a succession of debaucherous montages intermingled with uneven attempts at comedy and held together by the slimmest pretense of a plot.
Caustic as he is Costa at least exhibits something of a recognizable personality; the same cannot be said of his two cohorts the tubby dweeb J.B. (Jonathan Daniel Brown) and the earnest blank Thomas (Thomas Mann). None of them seem to enjoy much in the way of popularity at their high school located in the fictional suburb of North Pasadena but Costa has a plan to fix that. On the occasion of his 17th birthday Thomas whose parents have conveniently departed for the weekend reluctantly agrees to host a party that Costa promises will be a “game-changer” for their lowly social status.
Hardly a game-changer is Project X’s script co-written by Matt Drake and Michael Bacall which mostly treads a predictable teen-comedy path. At its outset the party appears to be a bust. Soon however hordes of eager revelers descend upon Thomas’ house and the event swiftly devolves into a festival of wanton hedonism that would impress Charlie Sheen. The orgy of booze drugs and sex is captured by Nourizadeh in one impressively slick sequence after another set to a vibrant soundtrack.
To maintain the guise of an actual movie – and to occupy us between shots of topless beauties downing tequila and frolicking in the pool – Project X tosses in a few familiar tropes to push its story along: an unstable drug-dealer bent on revenge a buzzkilling neighbor seeking to end the night’s festivities prematurely a budding but hesitant attraction between Thomas and his childhood friend Kirby (Kirby Bliss Blanton). But the scenes are so hollow and contrived that you get the sense even the filmmakers don’t buy them and only added them to the film in a transparent ploy to forestall allegations of complete and utter vapidity. The efforts serve only to add a dash of the banal to the proceedings.
Project X’s natural forebears – R-rated teen comedies Superbad and American Pie – tempered their crudity and outrageousness with a surprising degree of depth and sincerity. Moreover they were actually funny. Project X is a shallow affair to be sure but a dearth of laughs is what ultimately dooms it. A belligerent little person who goes on a crotch-kicking spree after being tossed in an oven amounts to the film’s most sophisticated attempt at humor. More often it relies on recycled gags from previous films (including Phillips’ own library from Road Trip to The Hangover Part II) and Jackass-inspired mishaps.
The found-footage approach has proven to be a potent (if overused) tool in horror films but its utility in the service of comedy at least in the hands of Nourizadeh is limited. It mostly comes across as a needless gimmick good for marketing purposes but little else. Perhaps acknowledging as much Project X’s backup plan calls for an incessant raising of the stakes. As the once-innocuous gathering metastasizes into a fully-fledged riot one so dangerous that even the police dare not intervene the specter of parental disapproval gives way to the threat of incarceration and finally to the potential incineration of the entire neighborhood. The scale of the destruction is impressive – especially for such a (presumably) low-budget film – but like much of what precedes it almost entirely pointless.
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In his new film Due Date director Todd Phillips (Old School The Hangover) stages a rather audacious cinematic experiment placing two enormously talented actors Robert Downey Jr. and Zach Galifianakis on a mostly deserted island handing them an assortment of blunt and broken tools and charging them with constructing a free-standing fully-functioning Hollywood comedy.
To his credit Phillips was at least considerate enough to supply his comic Crusoes with a detailed blueprint. An odd-couple/road trip movie hybrid Due Date unapologetically mimics Planes Trains and Automobiles one of the John Hughes' rare “grown-up” comedies in which Steve Martin starred as a straightlaced family man forced to travel cross-country with a gratingly affable slob played by John Candy in order to make it home for Thanksgiving. (Surely there have been other such films before and since but Hughes’ work is the one Due Date most vividly recalls.)
The film’s script co-written by Phillips and Adam Sztykiel adds a handful of 21st-century twists to the formula: A baggage snafu while boarding an airplane leads Peter Highman (Downey) a type-A architect with a history of anger-management issues into a confrontation with a Federal Air Marshal that subsequently lands him on Homeland Security’s no-fly list. Stranded without reliable transport lacking the means by which to procure any (he left his wallet on the plane) and desperate to be reunited in L.A. with his pregnant wife (Michelle Monaghan) in time for her scheduled c-section he reluctantly agrees to hitch a ride with the same tubby schmuck Ethan (Galifianakis) who moments earlier was the catalyst of his security debacle.
The unlikely travel companions embark on a calamitous road trip from Atlanta to L.A. during which Ethan proves to be something of a disaster magnet with Peter bearing the brunt of the damage that occurs. Their navigator Phillips lazily guides them through an uneven obstacle course of comic scenarios some of which are embarrassingly predictable (Ethan stores his beloved father’s ashes in a coffee can and they’re later accidentally used to make coffee!) all of which are designed to showcase Downey’s caustic wit and Galifianakis’ sublime daffiness.
Few actors today deliver choice insults better than Downey and even fewer absorb them better than Galifianakis. They make for a truly marvelous collision of opposites and their interplay is what elevates Due Date above its often puzzlingly flat material. (That along with Galifianakis’ gift for physical comedy; no actor outside of the Jackass crew can better sell a collision with a car door.) The film's supporting cast meanwhile criminally underachieves. Conspicuous cameos from the likes of Danny McBride Juliette Lewis and Jamie Foxx are either unfunny unnecessary or both. On this road trip they’re little more than baggage. Thankfully Downey and Galifianakis are more than capable of shouldering the burden.
In the tradition of Batman Begins and Casino Royale the clock is rolled back on the legendary icons the D—the self-proclaimed greatest band in the world—as the curtain is pulled back on their secret origins and the demons that drive them are unveiled… OK so it’s not really that deep. Though the heavy metal/comedy combo of Jack/JB/”Jabeles” (Jack Black) and Kyle/KB/”Kage” (Kyle Gass) have long played hip clubs cut an album starred in their own short-lived HBO series and amassed a devoted cult of fans their first feature film reveals how the pudgy duo first meet form the band meet their first fan (Jason Reed as TV holdover Lee) go questing the fabled Pick of Destiny—a shard of Satan’s tooth turned into a guitar pick passed among rock’s most accomplished shredders—and ultimately smack down with the devil himself. Believe it or not it’s a love story. Thanks to their long professional partnership Black and Gass comprise two perfectly crafted sides of a very polished comedy coin: Black is the wild-eyed uncontrolled id Gass is the low-energy manipulative slacker and they meet in the middle with an equal amount of unchecked delusion about their musical ability and potential. They both deftly pull off the trickiest types of comedy: smart jokes in the guise of dumb characters and it’s nice to see Black—obviously the bigger film star of the two—share the funniest bits equally with Gass. Of course all of this hinges on the audience’s tolerance for the ambitiously clueless ego-cases (and moviegoers who only love Black for his tamer version of the same persona in School of Rock should be warned—this is the cruder ruder and more profane incarnation) but we admit we’ve long had a taste for the D. They boys carry they movie squarely on their shoulders though longtime D supporters Tim Robbins and Ben Stiller stand out in cameos—the first Stiller cameo in ages that’s both amusing and non-gratuitous! Also appearing in small bits: SNL’s Fred Armisen and Amy Poehler Oscar-nominee Amy Adams Colin Hanks hard rock hero Ronnie James Dio Foo Fighter Dave Grohl as Satan and an uncredited John C. Reilly though you’ll never ever recognize him when he’s onscreen. And kudos to whoever had the inspired notion to cast Meat Loaf as JB’s pious father and Troy Gentile as the young rockin’ JB (Gentile also played a junior version of Black in Nacho Libre). Helmer Liam Lynch who also collaborated on the screenplay with Black and Gass and directed their music video “Tribute ” understands the absurd world of the D completely and demonstrates a clever assured sense of straight-faced silliness. Indeed the first ten minutes of the film alone—a mini-rock opera in itself—announce him as a comedy director to watch. Although we’re sure the bandmates themselves would take full credit for the film’s success. After all they may not have made the greatest movie in the world but in D-speak they came up with a pretty rockin’ tribute version.