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.
WHAT’S IT ABOUT?
Carbon copying the already overly convoluted idea from the previous Final Destination movies the latest worst installment continues on the theme of one unlucky twentysomething being able to predict who’s going to die and when; this time it’s Nick. After attending a NASCAR race with his girlfriend Lori and their friends Hunt and Janet Nick has a premonition about an elaborate horrific accident that threatens everyone present. Naturally it comes true — and even though plenty of people die in the stands Death (you know the bogeyman) has only just begun. But Nick realizes that he might be able to save the survivors of that day by remembering the order in which they're supposed to die and warning them of their imminent demise. Unfortunately though not everyone believes him and they carry on with their dangerous activities ... like going to a hair salon or — gulp! — through a carwash.
WHO’S IN IT?
Up-and-coming actor Bobby Campo plays the main pretty young thing and he makes the best of what is ultimately an untenable and God-awful role to have to accept. Still fresh faces capable of pulling off his part are a dime a dozen and Destination’s past leads like Mary Elizabeth Winstead at least left us feeling their fear. Supporting actresses Shantel VanSanten as Lori and Haley Webb as Janet are there for little more than eye candy and ear-shredding screams while former MTV 'It' dude Nick Zano as the obnoxious clichéd — and obnoxiously clichéd — Hunt can’t even provide the occasional comic relief for which he was brought on. The lone bright spot comes courtesy of an evidently desperate-for-work Mykelti Williamson (aka Bubba in Forrest Gump) who plays a widowed security guard adding a shred of cred to the otherwise disposable cast (which includes a barely there Krista Allen).
Clocking in at a mercifully brisk hour and 15 minutes the makers of TFD find one way to not essentially call us stupid: They know we want our scares quickly and they deliver — except for actually scaring us. Aside from its running time the aforementioned credible performance by Williamson is literally all the movie has going for it.
Wow where to begin? Destination another in a loooong line of wholly unnecessary sequels is riddled with problems — from the are-you-kidding-me? “special” effects (even in 3-D) to the jaw-droppingly horrendous writing. Director David R. Ellis (helmer of the infinitely better Final Destination 2) should bear much of the blame. He seems uninterested in delivering anything that people go to the movies for; this Destination is nothing more than tenuously connected scenes of video-game-like deaths that try to one-up each other. And not one of the sequences is even mildly suspenseful or scary — just disturbing in the sense that some people will actually smirk in earnest at the cartoonishness of it all.
The writing though is the real culprit. Eric Bress’ (also an FD2 alum) script is incredibly unimaginative merely recycling similar but better executed scenarios from the three previous movies and swapping out the settings. With ideas so bad Bress makes it abundantly clear that there’s no inane death massacre left to explore at this point; it's basically a metaphorical surrender. And yet the dialogue is even worse — with stock stereotypical block characters muttering it to boot.
LEAST FAVORITE SCENE?
Not to completely give it away — lest we make the movie predictable! — but one of the death scenes is just so far beyond ridiculous that it transcends even sarcastic laughter. Hint: It involves water and it’s about midway through the movie … if you dare stay that long.
Even if you’re not a cinephile and you couldn’t care less about things like character depth and plot development and you’re looking for a very quick thrill The Final Destination is well beneath you. It makes recent straight-to-DVD releases look like fully coherent masterpieces. Whether in 3-D or 2-D it’s a mustn't-see!