Set partially in a utopian alternate universe, the film revolves around a titular doll who lives in a world that is meant to represent all of the good qualities of young girls and women until she suddenly experiences an existential crisis where she and her boyfriend Ken travel to the real world to discover a world that is way more complicated. It is a film where this doll that is meant to be an inspiration for girls and women all over the world finds herself thinking about death and all sorts of things as her journey to the real world in Los Angeles has her coming to terms with who she is and the complicated feelings she’s developing. The film’s screenplay by Greta Gerwig and Noah Baumbach has a simple structure that features bits of narration by Helen Mirren that adds to the drama that Barbie faces as well as her many variations that also include discontinued dolls such as Allan (Michael Cera) and the pregnant doll Midge (Emerald Fennell) as the former also goes through his own existential crisis.
The first act is set in this utopian universe known as Barbieland as it is this matriarchal society where Barbies rule the land while the Kens do recreational activities on the beach while the Barbies are doctors, lawyers, politicians, and such as its protagonist known as Stereotypical Barbie starts to crumble through her own existential crises as she turns to Weird Barbie (Kate McKinnon) for help where Barbie decides to go to the real world with Ken joining her as he also experiences an existential crisis. The film’s second act is set in Los Angeles where Barbie realizes that she isn’t this inspiration upon meeting a teenage girl in Sasha (Ariana Greenblatt) whose mother Gloria (America Ferrera) works as a receptionist for Mattel’s CEO (Will Ferrell). Gloria is a fan of Barbie as she learns about what Barbie is going through as the CEO and his team of executives try to put Barbie back in her box in their idea that it would save their own universe. The film’s third act returns to Barbieland where things definitely go wrong as it relates to Ken’s own discovery of patriarchy in the real world with Barbie becoming more unsure of herself and her purpose in life whether it is real or plastic.
Gerwig’s direction is definitely wondrous for the fact that it pays tribute to cinema and its long history ranging from American musicals to the French cinema of the 1960s yet it begins with a scene that sort of spoofs Stanley Kubrick’s 2001: A Space Odyssey. It opens with young girls playing with plastic baby dolls that doesn’t do much until they see a giant Barbie doll as it is all narrated by Helen Mirren that sets the tone for the film as well as the influence Barbie would have for young girls. Shot largely on location at the Warner Brothers Studio lot at Leavesden, England with the second act shot entirely on location in Los Angeles. Gerwig presents Barbieland as this world where it is artificial including the beach where there are these matte backgrounds and artificial lighting yet there is something beautiful in the way Gerwig presents it. Notably as the usage of the wide and medium shots showcase this world that is off the wall but also gorgeous with these immense set designs as well as some dance numbers choreographed by Jennifer White.
The scenes in Los Angeles is more straightforward with Gerwig using close-ups as it plays into Barbie’s interaction with the real world and the weight of emotion that she is dealing with as it includes this brief interaction with this old lady (Ann Roth). Gerwig also maintains this element of surrealism when Barbie is running from the CEO and his executives where she hides in a room where she meets another old woman in Ruth (Rhea Perlman) as it allows Barbie a glimpse into a world that is ordinary yet full of wonderment. The third act has Gerwig not only play into these gender politics and identities that men and women play into but also the many complications and contradictions both men and women deal with. Even as the Barbies realize the lack of power the Kens have as they also deal with the CEO and his executives who are forced to ponder their own roles in selling Barbie to the world. Then there’s Barbie and Ken as the film’s ending relates to who they are by themselves and their own purpose in the world. Overall, Gerwig crafts a rapturous and witty film about a living doll going on an existential crisis and discover her true purpose for womanhood.
Cinematographer Rodrigo Prieto does incredible work with the film’s cinematography with its vibrant usage of colors in the usage of artificial lighting for the scenes in Barbieland including the scenes at night while the scenes in Los Angeles has a more naturalistic look in the film. Editor Nick Houy does excellent work with the editing as it has elements of style in the montage of Barbie and Ken traveling through the portal as well as some straightforward cutting that include shots where scenes are allowed to linger including the first party in the film’s first act. Production designer Sarah Greenwood, with set decorators Katie Spencer and Ashley Swanson plus supervising art directors Andrew Max Cahn and Dean Clegg, does phenomenal work with the look of Barbieland with its design of the dream houses that the Barbies live in as well as the places and the beach in Barbieland as well as the interiors of the Mattel building. Costume designer Jacqueline Durran does amazing work with the costumes from the different array of clothing the Barbies wear including some of the iconic dresses as well as the clothes that the Kens wear including some of the stuff in the film’s third act as it is a major highlight of the film.
Hair/makeup supervisors Robb Crafer and Lois McIntosh do fantastic work with the look of the Barbies and their different hairstyles as well as the look of Kens including the ones they would adopt in the film’s third act. Special effects supervisor Mark Holt, along with visual effects supervisors Glen Pratt and Ned Wilson, does brilliant work with the effects with the emphasis on stylized visual effects for some of the scenes in Barbieland including some practical effects such as a dog that Weird Barbie owns along with a few bits in the scenes in Los Angeles. Sound designers Dan Kenyon and Ai-Ling Lee do superb work with the sound in some of the sound effects that appear in Barbieland that add to the artificial element of the film as well as the natural sounds in the scenes set in Los Angeles.
The film’s music by Mark Ronson and Andrew Wyatt is wonderful for its mixture of pop and electronic sounds with elements of orchestral textures to play into the adventure and humor while music supervisor George Drakoulias cultivate a fun music soundtrack that features an array of music that include contributions from Lizzo, Dua Lipa, Charli XCX, Nicki Minaj & Ice Spice with Aqua, Billie Eilish, Karol G with Aldo Ranks, Sam Smith, Tame Impala, Dominic Fike, Haim, the Kid Laroi, Khalid, Gayle, Ava Max, Fifty-Fifty with Kalil, PinkPantheress, the Indigo Girls, Matchbox Twenty, Brandi Carlisle with Catherine Carlisle, and Ryan Gosling singing his own song about Ken and a cover of Matchbox Twenty’s Push.
The casting by Lucy Bevan and Allison Jones is marvelous as it feature some notable small roles and appearances from Annie Mumulo as an anxiety-ridden mother at a middle school, legendary costume designer Ann Roth as the old lady that Barbie meets in Los Angeles, Connor Swindells as a Mattel intern who tells the CEO about a Barbie and Ken on the loose, Jamie Demetriou as the Mattel CFO, Rob Brydon as the cancelled Sugar Daddy Ken, Tom Strouton as the discontinued Earring Ken, the quartet of Olivia Brody, Isla Ashworth, Eire Farrell, and Daisy Duczmal as the four young girls in the 2001 sequence, Ryan Piers Williams as the el esposo de Gloria, Emerald Fennell as the discontinued pregnant Barbie known as Midge, and Rhea Perlman as a mysterious figure known as Ruth whom Barbie would meet at the Mattel building. In the roles of the variations of Ken, there’s Simu Liu as a rival of Ken, Kingsley Ben-Adir and Ncuti Gatwa as a couple of Kens who are friends of Ken, Scott Evans as Ken’s rival’s friend who always backs up his Ken, and John Cena as merman Ken as they all provide some hilarious performances with Liu being the standout as the guy who has issues with Ken.
In the roles of the variations of Barbies, there’s Dua Lipa as a trio of mermaid Barbies, Ana Cruz Kanye as Supreme Court Judge Barbie, Nicola Coughlan as Diplomat Barbie, Ritu Arya as Journalist Barbie, Sharon Rooney as Lawyer Barbie, Emma Mackey as Physicist Barbie, Hari Neff as Dr. Barbie, Alexandra Shipp as Writer Barbie, and Issa Rae as President Barbie as they’re all fantastic with their humor as well as what happens to them in the third act. Kate McKinnon is excellent as Weird Barbie as an outcast of sorts who has been to the real world and guides Barbie to go there while also being this representation of what young girls do with Weird Barbies. Ariana Greenblatt is brilliant as Sasha as a tween girl who believes Barbie represents a negative image to young women as she’s going through growing pains until she realizes how much her mother loves Barbie dolls and the fact that she can help change things.
Will Ferrell is amazing as the Mattel CEO who is troubled by the idea of Barbie and Ken in the real world as he deals with a lot of trouble while also finding a way to go to Barbieland where Ferrell’s reactions to everything around him is hilarious. Michael Cera is great as Allan as a discontinued doll who is often neglected by many in Barbieland until he starts to rebel against the events in the film’s third act where he becomes an ally to the Barbies. America Ferrera is phenomenal as Gloria as a Mattel receptionist for the CEO who is a fan of Barbie as she is dealing with all sorts of issues including her daughter Sasha as she also realizes what Barbie is dealing with as Ferrera has a great moment in a monologue that plays into the many contradictions that women deal with.
Ryan Gosling is magnificent as Ken as this doll who is just trying to get Barbie’s attention as well as be this boyfriend to her though he often feels neglected until he goes to the real world and discovers patriarchy where he finds some meaning but also becomes unsure of himself as Gosling brings in a lot of humor and heartbreak in his singing as it is a performance for the ages. Finally, there’s Margot Robbie in a tremendous performance as Barbie as this doll who experiences an existential crisis where she travels to the real world as she becomes more confused about her role where Robbie brings a lot of wit but also in displaying the sense of despair when Barbie becomes sad as it is an iconic performance from Robbie.
Barbie is a spectacular film from Greta Gerwig that features great leading performances from Margot Robbie and Ryan Gosling. Along with a great ensemble cast, gorgeous visuals, a fun music soundtrack, immense art direction, and its themes on womanhood. It is a film that isn’t just entertaining in its humor and dazzling set pieces but also a film that showcases the importance of dolls and what they can do for children in proving they can be anything no matter how weird it can be. In the end, Barbie is a magnificent film from Greta Gerwig.
Greta Gerwig Films: (Nights and Weekend) – Lady Bird - Little Women (2019 film)
© thevoid99 2023
Directed by Adam McKay and written by McKay and Chris Henchy, The Other Guys is the story of two mismatched NYPD detectives who take on a case while other detectives do bigger jobs as they make a discovery involving financial embezzlement and such. The film is a mixture of the buddy-cop films mixed in with humor as well as an exploration into the world of finance as it’s all narrated by rapper/actor Ice-T. Starring Will Ferrell, Mark Wahlberg, Eva Mendes, Rob Riggle, Damon Wayans Jr., Steve Coogan, Ray Stevenson, and Michael Keaton. The Other Guys is a wild and adventurous film from Adam McKay.
The film follows two mismatched detectives working for the NYPD whose attempt to be taken seriously is met with constant ridicule by other detectives as they take on a case involving the world of finance. It’s a film that is a spoof of sorts of the buddy-cop films yet it also follow two different men who embark on a case that involves a multi-billionaire who has lost money to a client who wants him killed. The film’s screenplay by Adam McKay and Chris Henchy doesn’t just follow these two mismatched partners who aren’t treated with respect but also their effort to get respect from fellow officers despite the fact that neither man are considered great detectives. Allen Gamble (Will Ferrell) is a mild-mannered forensic accountant that likes to be on the desk as he’s teamed up with the very hot-tempered Terry Hoitz who is forced to team up with Gamble over an incident where he accidentally shot New York Yankees player Derek Jeter during the World Series. Following the strange death of two widely-revered but cocky detectives, Gamble and Hoitz try to take that spot as they compete with the more-experienced and respected detectives Martin (Rob Riggle) and Fosse (Damon Wayans Jr.).
During the course of their investigation of the billionaire Sir David Ershon (Steve Coogan), Hoitz and Gamble get to know each other as the former is still eager to prove himself that he can be relied on as he’s also having issues with his ex-girlfriend Francine (Lindsay Sloane) due to his own faults. In the latter, Hoitz would learn that Gamble is married to an extremely-beautiful woman in Sheila (Eva Mendes) as well as get the attraction of a lot of beautiful woman that relates to a past that Gamble is covering up. Some of the investigation relating to Sir Ershon’s embezzlement scam is a bit complicated but it’s made up for the situations that Gamble and Hoitz endure as they had to make their reports to their superior in Captain Gene Mauch (Michael Keaton) who works a second job managing a Bed, Bath, and Beyond. Captain Mauch is an oddball character not just for having a second job but also being secretive into what Gamble and Hoitz is trying to uncover. Another quirk that he has is the fact that unknowingly quotes lyrics from the famed 90s R&B group TLC.
McKay’s direction does have elements of style as it relates to a lot of the visual tropes expected in buddy-cop films while it also play with these tropes to create something that is simpler and with an offbeat sense of humor. Shot on location in New York City with additional locations in Staten Island and Albany, the film does play into a world in which its police department is considered one of the best where two men don’t feel like they’re part of that elite group. Even as they endure some very strange moments during their investigation such as talking to a couple who wants Gamble to have sex with his wife since she used to have a relationship with him back in college. While there’s some wide shots for some of the action scenes as well as some establishing shots of the locations. Much of McKay’s direction emphasizes more on close-ups and medium shots to play into the interaction with the characters and the growing partnership between Gamble and Hoitz.
Notably as the latter starts to open up about his anger issues while the former reveals to have a dark side that he’s repressing as his own personal life is about to change. McKay would also take breaks from the humor and action as it relates to the environment Gamble and Hoitz are trying to discover as it relates to Ershon and his business dealings. Notably in a final credits sequence where McKay reveals a lot about some of the financial scandals that happened in real-life showing how big it can affect everything and how it adds to Gamble and Hoitz needing to stop those going after Ershon who is already in trouble for his role. The film’s climax is definitely big as it’s expected in action films but also play into some of the silliness that occurs throughout the climax over the group of mercenaries hired to take out Ershon. Overall, McKay creates a fun and thrilling film about two mismatched partners who step in when everyone else is busy in saving New York City.
Cinematographer Oliver Wood does excellent work with the cinematography as it has elements of style in some of the interiors and exterior scenes at night while much of the daytime exteriors is straightforward. Editor Brent White does brilliant work with the editing as it does play into the many conventional ideas of editing in action films while also providing something straightforward in capturing the humor in the film. Production designer Clayton Hartley, with set decorator George DeTitta Jr. and art director Jim Gloster, does fantastic work with the look of the offices including Ershon’s posh penthouse and a bar that Gamble frequents at. Costume designer Carol Ramsey does nice work with the costumes as it is largely straightforward with the more posh look of Ershon as well as some of the somewhat-skimpy clothing that Sheila wears.
Visual effects supervisor Gregor Lakner does terrific work with a few of the film’s visual effects as it largely relate to some of the action scenes in the film including a helicopter chase scene. Sound editor George H. Anderson does superb work with the sound as it play into the chaos of some of the action as well as the places that Gamble and Hoitz go to during the sequence where they unknowingly take Ershon’s bribes. The film’s music by Jon Brion is wonderful for its low-key score that is a mixture of bombastic orchestral music with some light-hearted jazzy pieces while music supervisor Erica Weis provide a fun mix of music ranging from acts like Little River Band, Phil Collins, Wyclef Jean, the Foo Fighters, Swizz Beatz, Donovan, the Black Eyed Peas, the Hit Crew, Goldfrapp, the White Stripes, Cee-Lo Green with Eva Mendes, Rage Against the Machine, the Mamas and the Papas, and TLC.
The casting by Jennifer Euston and Allison Jones is great as it feature cameo appearances from wrestlers Brian Girard James/Road Dogg Jesse James and Monty Kip Sopp/Bad Ass Billy Gunn, Tracy Morgan, Rosie Perez, and Brooke Shields as themselves at a New York Knicks game, New York Yankees player Derek Jeter as himself, Anne Heche as a CEO who targets Ershon, Josef Sommer as the district attorney who is angry over Gamble and Hoitz’s screw-ups, director Adam McKay as a seedy hobo named Dirty Mike, Bobby Cannavale as a detective who despises Hoitz for shooting Derek Jeter, Rob Huebel as Officer Watts who keeps coming to everyone about putting money into a fund which would play into the third act, Natalie Zea as a former girlfriend of Gamble in Chrisinith, Brett Gelman as Chrisinith’s husband who wants Gamble to fuck her, Tess Kartel as a Brazilian mercenary who is attracted to Gamble, Viola Harris as Sheila’s mother, and Andy Buckley as Ershon’s attorney who is targeted for his actions relating to Ershon’s finances.
Samuel L. Jackson and Dwayne “The Rock” Johnson are terrific in their brief yet respective role as the arrogant detectives Highsmith and Danson as two guys who do so much yet would do stupid things for the NYPD. Rob Riggle and Damon Wayans Jr. are superb in their respective roles as detectives Martin and Fosse as two men who often make fun of Gamble and Hoitz for their incompetence as they try to take in the top spot that was once filled by Danson and Highsmith. Ray Stevenson is fantastic as Roger Wesley as a mercenary leader hired by the people that Ershon had stolen from as he does whatever he can to try and get rid of Gamble and Hoitz. Lindsay Sloane is wonderful as Hoitz’s former girlfriend Francine who isn’t eager to get back with him due to his anger issues as she later realizes why he is flawed as she’s unsure of taking him back.
Steve Coogan is brilliant as Sir David Ershon as a billionaire who gets himself into some trouble over money he’s stolen from a big corporation as he tries to bribe Gamble and Hoitz while dealing with the trouble he’s in. Eva Mendes is fantastic as Gamble’s wife Sheila as a doctor who is super-attractive as she knows about her husband’s dark past as she is something she refuses to take. Michael Keaton is amazing as Captain Gene Mauch as Gamble and Hoitz’s superior who is sympathetic in their need to prove to themselves while he is also offbeat for the fact that he manages a Bed, Bath, and Beyond and unknowingly quotes TLC lyrics as it’s one of Keaton’s funniest performances. Finally, there’s the duo of Will Ferrell and Mark Wahlberg in phenomenal performances in their respective roles as Allen Gamble and Terry Hoitz as two detectives who are totally different to each other in their personality as Wahlberg captures the eagerness and frustration of a man trying to do right but feels like a screw-up every time. Ferrell is more laid back as someone who is just wanting to do his job but also harbors a dark secret which starts to re-emerge where Ferrell displays a manic sense of energy where he and Wahlberg display a fun chemistry that is a joy to watch.
The Other Guys is a sensational film from Adam McKay that features top-notch performances from Will Ferrell, Mark Wahlberg, Eva Mendes, Steve Coogan, and Michael Keaton. Along with its supporting cast, witty script, high-octane action, and some hilarious moments, it’s a film that manages to do more with buddy-cop action film while taking the time to explore different places while maintaining its humor. In the end, The Other Guys is an incredible film from Adam McKay.
Adam McKay Films: Anchorman: The Legend of Ron Burgundy - Talladega Nights: The Ballad of Ricky Bobby - Step Brothers - Anchorman 2: The Legend Continues - The Big Short - (Backseat) – The Auteurs #63: Adam McKay
© thevoid99 2018
Directed by Sean Anders and screenplay by Anders, Brian Burns, and John Morris from a story by Burns, Daddy’s Home is the story of a mild-mannered man who finds himself having to compete for the attention of his step-children once their father appears to try and put himself into their relationship. The film is a comedy that pits father against stepfather all to try and see who can be the best father. Starring Will Ferrell, Mark Wahlberg, Linda Cardellini, Bobby Cannavale, Hannibal Burress, and Thomas Haden Church. Daddy’s Home is a funny and exciting film from Sean Anders.
The film is a simple story of a man who works as an executive at a smooth-jazz radio station as he had been a stepfather to a couple of kids for years as he is trying whatever he can to help them when that all changes when his wife’s former husband arrives for a visit and all hell breaks loose. What happens is that it becomes this kind of mental competition and one-upmanship between two men who both want to become the best father to these two kids. The film’s screenplay by Sean Anders, Brian Burns, and John Morris doesn’t just explore the two different men in this scenario in the mild-mannered and sensitive Brad Whitaker (Will Ferrell) and the more macho and adventurous Dusty Mayron (Mark Wahlberg) in how they deal with each other but also in their idea of raising kids. Watching all of this is Brad’s wife Sara (Linda Cardellini) who married Dusty many years ago but divorced due to his immaturity and lack of commitment to family as she isn’t sure if Dusty is really there for noble reasons. Even though Brad finds Dusty intimidating physically and mentally, Dusty would see what Brad can bring to the table as it would force him to raise his gain but also deal with the challenges in being a full-time father.
Sean Anders’ direction is very straightforward in terms of the compositions he creates as well as emphasizing on a few stylish moments in the film such as a skateboarding sequence with the usage of the GoPro camera. Still, Anders just goes for something simple as the film is shot mainly in and around New Orleans as it does have a few wide shots though Anders would favor medium shots and close-ups to focus on the characters and the comedic moments. Some of these moments involve Brad trying to upstage Dusty by doing crazy stunts only for it to go wrong as it does deliver. Anders would wisely know not to emphasize too much on gags in order to focus on Brad and Dusty to get an understanding on fatherhood as it would it add a common goal for these two men. Notably a scene where Brad and Dusty help the latter’s son Dylan (Owen Wilder Vaccaro) in dealing with a bully as well as wanting to dance with Dusty’s daughter Megan (Scarlett Estevez) for an upcoming father-daughter dance at her school shows that these two men do bring the best in each other. Overall, Anders creates a charming and hilarious film about a stepfather competing with a father for the affection of their children.
Cinematographer Julio Macat does excellent work with the film’s cinematography as it’s straightforward for many of the daytime exterior/interior scenes with some lights for the scenes at night. Editors Eric Kissack and Brad Wilhite do nice work with the editing as it has elements of style with some of the rhythmic cuts to play into the humor as well as some of the gags. Production designer Clayton Hartley, with set decorator Jan Pascale and Elliott Glick, does fantastic work with the look of the home that Brad and Sara live with the children as well as the look of the few places they go to. Costume designer Carol Ramsey does terrific work with the costumes as it is mostly casual from the sweater vest look of Brad to the more rugged look of Dusty.
Visual effects supervisor Paul Linden does very good work with some of the film’s visual effects as it relate to a few of the big gags in the film as it relates to Brad trying to one-up Dusty. Sound editors Andrew DeCristofaro and Michael Payne does superb work with the sound as it if straightforward to play into the atmosphere of some of the locations including a basketball arena and other locations for the activities Brad does with the kids. The film’s music by Michael Andrews is wonderful for its mixture of jazz and light-hearted orchestral music to play into the film’s humor while music supervisors Dave Jordan and Jojo Villanueva create a fun soundtrack that features an array of music from the Pixies, AC/DC, Metallica, the Hives, Jay-Z, the Offspring, the Commodores, T.I. with Rihanna, the Temptations, and Leo Sayer.
The casting by Allison Jones is great as it feature some notable small roles and appearances from Paul Scheer as a basketball radio DJ, Chris Henchy as a smooth jazz DJ, Hannibal Burress as a handyman named Griff who would be at the house due to befriending Dusty, and Bobby Cannavale in a funny performance as Dr. Emilio Fernandez as the famed fertility doctor who checks on Brad as he also knows Dusty. Owen Wilder Vacarro and Scarlett Estevez are fantastic in their respective roles as Dylan and Megan Mayron as two kids who aren’t fond of Brad as they’re excited to have their father around as they go to both of them for advice. Thomas Haden Church is excellent as Brad’s boss Leo Holt who gives Brad some bad advice as well as tell some hilarious stories of his own failures in the marriages he had been in.
Linda Cardellini is brilliant as Sara Whitaker as Brad’s wife/Dusty’s ex-wife who isn’t initially fond of having Dusty around though she realizes that he is trying to prove to be a good father while wanting to have another child despite the fact Brad might not be able to. Mark Wahlberg is incredible as Dusty Mayron as a rugged guy who does all sorts of things that makes him popular as he tries to do whatever he can to win back his children by playing mind games with Brad while dealing with his own faults as a father. Finally, there’s Will Ferrell in a marvelous as Brad Whitaker as a radio executive who is trying to win over Dylan and Megan as well as understanding them where he feels threatened by Dusty forcing to try all sorts of things where it’s a manic and wild performance from Ferrell.
Daddy’s Home is a remarkable film from Sean Anders that features great performances from Will Ferrell and Mark Wahlberg. Along with its supporting cast, engaging story, and some very funny moments, it’s a film that isn’t just enjoyable for families but also a comedy that is edgy but also sensible for children. In the end, Daddy’s Home is an amazing film from Sean Anders.
© thevoid99 2017
Directed by Adam McKay and screenplay by McKay and Will Ferrell from a story McKay, Ferrell, and John C. Reilly, Step Brothers is the story of two forty-year old men who reluctantly become step brothers after their parents marry as they start off as enemies only to become friends in their love of chaos and leading a slacker lifestyle. The film is an off-the-wall comedy with elements of anarchy in which two men refuse to grow up as they try to do their own thing while endure some strange situations. Starring Will Ferrell, John C. Reilly, Richard Jenkins, Mary Steenburgen, Adam Scott, Kathryn Hahn, Andrea Savage, and Rob Riggle. Step Brothers is a hilarious and confrontational film from Adam McKay.
A man and woman meet and fall in love at a convention where they both get married much to the dismay of their sons who are in their 40s as they’re forced to share a room together as they dislike each other believing they’re a detriment to their slacker lifestyle. That is pretty much the film in a nutshell as it revolve two guys who don’t want to grow up and refuse to get jobs as they start off as enemies only to realize how much they have in common as they create a lot of chaos much to the dismay of their parents. The film’s screenplay does follow a simple formula of these two men hating and then embracing each other while plotting to create their own business in order to get their parents off their back.
Yet, Brennan Huff (Will Ferrell) and Dale Doback (John C. Reilly) both share an equal sense of disdain towards Brennan’s younger brother Derek (Adam Scott) who often gloats his success as a helicopter licensing agent as well as do whatever it takes to humiliate Brennan. Though the script does follow a simple plot formula, there is a looseness to it in terms of its approach to dialogue and improvisation as well as the fact that it’s a story that doesn’t need a lot of plot schematics. It’s all about the idea of absolute and total chaos which does give the story something that can be described as an anarchist film of sorts.
Adam McKay’s direction may have simple ideas to compositions and creating moments that are light-hearted and funny yet it’s his approach to improvisation and total mayhem is what is key to the film. There is something confrontational about everything that is going on though it doesn’t start out like that first when Brennan’s mother Nancy (Mary Steenburgen) is at a convention watching Dale’s dad Robert (Richard Jenkins) give a speech as he look at her and all of a sudden the two fall in love and have sex though nothing gratuitous is shown. It’s when Brennan and Dale finally meet face-to-face is where the film starts to take shape immediately and building up slowly for this sense of unexpected and total sense of anarchy. Even as McKay knows where to shoot a scene to play into these moments of chaos such as Brennan and Dale’s first fight over the fact that Brennan touched Dale’s drum set and rubbed his testicles on them or the moment the two are sleepwalking and causing trouble. Then there’s these moments that push the envelope of good and bad taste such as a scene of Brennan and Dale being assaulted by middle school kids in which the former is forced to do something extremely awful.
The direction also showcase moments that are quite crazy which relate to a subplot in which Dale is having a reluctant affair with Derek’s wife Alice (Kathryn Hahn) who hates being married to Derek. There are also these moments that aren’t afraid to offend as it relate to Brennan and Dale trying to ruin Derek’s sale as McKay’s direction is very offbeat in those moments. The film’s climax at this event known as the Catalina Wine Mixer is definitely a culmination of everything Brennan and Dale have endured in their attempt to be free but also deal with expectations of conformity. What happens is this strange mixture of anarchy and beauty which is kind of indescribable but an absolute joy to watch and what better place to do than at the fucking Catalina Wine Mixer. Overall, McKay creates an outrageous and off-the-wall film about two immature men who become stepbrothers.
Cinematographer Oliver Wood does excellent work with the film’s cinematography from the colorful and sunny look of the locations in the day to the usage of lights for some of the interiors set at night. Editor Brent White does nice work with the editing as it has elements of style in the slow-motion cuts as well as some of the montages and other moments to play into the humor. Production designer Clayton Hartley, with set decorator Casey Hallenbeck and art director Virginia L. Randolph, does fantastic work with the look of the house the brothers live in as well as their bedroom and the look of the Cataline Wine Mixer. Costume designer Susan Matheson does terrific work with the costumes as much of its casual including the tuxedos the stepbrothers wear for their job interviews.
Visual effects supervisor Rocco Passionino does some good work with some of the minimal visual effects as it is mostly set-dressing including some funny scenes involving the stepbrothers dealing with some awful kids. Sound editor George H. Anderson does superb work with the sound in the way some of the chaotic moments in the film are presented via sound as well as some of the moments during the Catalina Wine Mixer. The film’s music by Jon Brion is brilliant for its mixture of jazz and kitsch to play into the funny moments of the film while music supervisor Hal Willner creates a fun soundtrack that feature music from Hall & Oates, LCD Soundsystem, Vampire Weekend, Vanilla Ice, Q-Tip, Dizzee Rascal, Dilated Peoples, KO & the Knockouts, Brenda Lee, the Mighty Bosstones, and the Kinks.
The casting by Allison Jones is great as it feature some small roles and appearances from Seth Rogen as a sporting goods manager, Matt Walsh as a heckler at the Catalina Wine Mixer, Horatio Sanz as a Billy Joel tribute band singer at the Catalina Wine Mixer, Gillian Vigman as a woman interviewing the stepbrothers for a job, Phil LaMarr as a man trying to buy the family home, Lurie Poston and Elizabeth Yozamp as Derek and Alice’s smug and spoiled asshole kids, Logan Manus as a co-worker of Derek, and Rob Riggle as another co-worker of Derek in Randy who wants to punch Brennan because of his ugly face. Andrea Savage is wonderful as Brennan’s therapist Denise who tries to help him only to deal with the fact that Brennan is in love with her. Kathryn Hahn is fantastic as Derek’s wife Alice who falls for Dale as she provides some of the funniest moments in the film about wanting to fuck Dale so hard in her hatred of Derek.
Adam Scott is excellent as Derek Huff as Brennan’s younger brother who is a total fucking asshole that thinks he’s better than everyone while rubbing his own success and ambitions on his brother as well as trying to make Dale’s father Robert as his best friend. Mary Steenburgen and Richard Jenkins are amazing in their respective roles as Nancy Doback and Robert Huff with Steenburgen as the more sensible of the two parents trying to understand them but also put her foot down with Jenkins as the more strict of the two as he tries to get them to conform but also reveal his own faults on the idea of growing up. Finally, there’s the duo of Will Ferrell and John C. Reilly in phenomenal performances in their respective roles as Brennan Doback and Dale Huff as the two just go all-out in terms of being outrageous and off-the-wall with Ferrell as the more childish of the two due to his trauma and Reilly as being more of the funny guy as they’re just a joy to watch.
Step Brothers is a fucking wild and tremendous film from Adam McKay that features hilarious performances from Will Ferrell and John C. Reilly. Along with a great supporting cast, a premise that goes way beyond its simple idea, and scenes that play from the profound to the absolute profane. It’s a film that doesn’t try to do anything to go for laughs but rather be insane and confrontational enough to see some of the humor of it in the most inventive way. In the end, Step Brothers is a magnificent film from Adam McKay.
Adam McKay Films: Anchorman: The Legend of Ron Burgundy - Talladega Nights: The Ballad of Ricky Bobby - The Other Guys - Anchorman 2: The Legend Continues - The Big Short - (Backseat) - The Auteurs #63: Adam McKay
© thevoid99 2017
Written and directed by Phil Lord and Chris Miller from a story by Lord, Miller, Dan Hageman, and Kevin Hageman, The Lego Movie is the story of an ordinary construction worker who is asked to join a quest to help a wizard defeat an evil lord. The film is an animated feature inspired by the Legos building toys as this ordinary person is believed to be part of a prophecy to help the world of Legos from this evil tyrant. Featuring the voices of Chris Pratt, Will Ferrell, Elizabeth Banks, Liam Neeson, Alison Brie, Will Arnett, Nick Offerman, Charlie Day, and Morgan Freeman. The Lego Movie is a truly fun and extremely awesome film from Phil Lord and Chris Miller.
Set in a world where it’s built entirely on Legos, the film revolves around an ordinary construction worker who finds a relic that is believed to be part of a prophecy to stop an evil lord from wreaking havoc and instill conformity as part of his vision of perfection and order. By taking part in a quest with a group of misfits led by a wizard, this ordinary worker in Emmett (Chris Pratt) finds himself realizing that he has been in a world where he doesn’t feel special as those question about whether he is this master builder that the prophecy claim to be. It’s a film with a simple premise yet it has compelling themes on the idea of conformity vs. individuality where the latter is rebelling against the ideas of this evil lord in Lord Business (Will Ferrell) as they’re known for creating things based on spontaneity. Yet, Lord Business is an individual who hates these ideas where Emmett would force this band of misfits to work together and find a way to use their spontaneity to defeat the evil lord.
The film’s screenplay definitely plays into aspects of conventional ideas about conformity vs. individuality yet the balance of that is Emmett as he is just this ordinary construction worker that is just trying to fit in as he works on creating buildings based on instructional manuals. When he meets this mysterious woman named Wyldstyle (Elizabeth Banks) where he would accidentally find this relic, he comes across something where it is clear that he wasn’t meant to find this thing as he would team up with Wyldstyle and this wizard named Vitruvius (Morgan Freeman) who is a master builder that leads a group of master builders. Yet, they’re pursued by Lord Business’ henchman Bad Cop (Liam Neeson) as they trek through different worlds as they do whatever it takes to stop Lord Business from unleashing the mysterious weapon known as the Kragle.
Phil Lord and Chris Miller’s direction is definitely wondrous not just for the fact that they created this unique mix of 3D computer animation with traditional elements as they would use Legos as their template. It’s also in how they use Legos to tell the story as well as play into how these characters interact with one another and feel like they’re a part of something. It’s part of the dramatic conflict that occurs in someone like Emmett who wants to fit yet he is unable to stand out as many of his co-workers just think of him as just no one. Much of the compositions aren’t just simple but they also have elements of surrealism in the way Emmett interacts with his surroundings as they’re very strange worlds that he is in. Among them is a world of the West, a medieval world, a world set in the clouds, and all sorts of crazy things that is definitely everything that Lord Business wants to get rid of.
The direction of the film also has elements that feels like a low-budget film where it’s clear that Lord and Miller are having fun as if they are playing with actual Lego toys. Even as the sense of spontaneity comes in whenever characters create something to get out of a bad situation. There’s also superheroes such as Superman, Batman, Green Lantern, Gandalf, and many others that appear in the film as they do serve some importance to the film as it also plays to how silly things are in the world of Legos. Especially into what the object known as the Kragle is as there are elements that add to this strange sense of surrealism which does bring a sense of joy and weirdness that feels very accessible. Overall, Lord and Miller create a very delightful and extremely fun film about an ordinary construction worker trying to save his Lego world and its people.
Cinematographer Pablo Plaisted does excellent work with some of the lighting schemes needed for some of the film‘s interior sets to play into the colorful look of the film. Editors David Burrows and Chris McKay do fantastic work with the editing to play into the energetic tone of the film as well as slowing things down for the suspenseful moments. Production designer Grant Freckelton does brilliant work with the look of the Lego buildings and other objects to play into the strange world of Legos. Sound designer Wayne Pashley does superb work with the sound effects including the smaller things into how some things are built. The film’s music by Mark Mothersbaugh is amazing for its mixture of orchestral music with elements of electronic and other offbeat music as it also features the song Everything is Awesome by Tegan & Sara.
The voice casting by Mary Hidalgo is incredible as it features voice cameos from Will Forte, Dave Franco, and Jorma Taccone in small roles as well as other voice performances from Cobie Smolders as Wonder Woman, Channing Tatum as Superman, Jonah Hill as Green Lantern, Shaquille O’Neal as a Lego version of himself, and Charlie Day in a very funny voice performance as 80s space guy who always wants to keep building a spaceship. Other notable small voice roles include Alison Brie as a very optimistic hybrid of cat and unicorn called Princess Unikitty while Nick Offerman is hilarious as a pirate character called Metalbeard who seeks vengeance of Lord Business. Morgan Freeman is excellent as the mysterious wizard Vitruvius as he is this wise man that is often in some very funny situations. Liam Neeson is superb as Bad Cop as this good cop/bad cop who is often forced to do Lord Business’ bidding as Neeson also voices Bad Cop’s parents and his good side.
Will Arnett is fantastic as the voice of Batman as this hilarious variation of the superhero who is often full of himself and thinks he is better than everyone. Will Ferrell is brilliant as Lord Business as this evil tyrant who is keen on making sure that everyone is doing things his way in an act of conformity. Elizabeth Banks is amazing as Wyldstyle as this tech-savvy fighter who was trying to find the mysterious relic as she becomes an object of affection for Emmett while dealing with her own flaws as an individual. Finally, there’s Chris Pratt in a remarkable voice performance as Emmett as this ordinary construction worker who learns that he is part of a prophecy that can save the Lego world as he copes with trying to live up to those expectations while admitting that he is just ordinary.
The Lego Movie is a phenomenal film from Phil Lord and Chris Miller. Featuring a great cast as well as a unique premise that is inspired by Legos, it is a film that manages to be full of imagination as well as bring out all sorts of joy for those who love Legos. Even as it manages to infuse elements of surrealism and weird things that manages to be crazier than it actually is. In the end, The Lego Movie is a sensational film from Phil Lord and Chris Miller.
Phil Lord & Chris Miller Films: (Cloudy with a Chance of Meatballs) - 21 Jump Street - 22 Jump Street
Related: The Lego Batman Movie - (The Lego Ninjago Movie)
© thevoid99 2014
Directed by Andrew Fleming and written by Fleming and Sheryl Longin, Dick is the story of two teenage girls who meet Richard Nixon as they become secret youth advisors only to reveal his secrets to Bob Woodward and Carl Bernstein as the mysterious Deep Throat. A fictional take on the Watergate scandal that led to Nixon’s resignation, the film is a comedic story about the ideas of who Deep Throat in the form of two sweet-natured but dim-witted girls. Starring Kirsten Dunst, Michelle Williams, Ana Gasteyer, Will Ferrell, Bruce McCullough, Jim Breuer, Saul Rubinek, Teri Garr, Dave Foley, Harry Shearer, and Dan Hedaya as Richard Nixon. Dick is a truly hilarious and entertaining film from Andrew Fleming.
The film is a fictional take on the Watergate scandal that destroyed the political career of President Richard Nixon who would resign in disgrace in August of 1974 after some revelations over what happened at the Watergate Hotel two years earlier by people in his administration. All of it revolves around two teenage girls where one of them was living in the Watergate hotel as they were mailing a letter to win a contest to meet Bobby Sherman where they run into G. Gordon Liddy (Harry Shearer) and led to the arrest of several men connected to the Nixon administration. Upon meeting Nixon during a school field trip by befriending his dog Checkers, they become secret youth advisors where they would influence Nixon to connect with the American public until they learn who he really is where they would reveal their information to Bob Woodward (Will Ferrell) and Carl Bernstein (Bruce McCullough).
The film’s screenplay definitely focuses on the antics of Betsy Jobs (Kirsten Dunst) and Arlene Lorenzo (Michelle Williams) as they’re just a couple of American teenage girls who love everything that was around in the 1970s. Yet, their encounter with Nixon is one of many accidents that occur as they would be involved in some of Nixon’s great achievements during his second term while be responsible for things such as the 18 ½ minute gap that was missing from one of the tapes Nixon recorded. Many of the people that are involved with the Watergate story are portrayed for laughs such as Nixon’s attorney John Dean (Jim Breuer) as a very innocent man who feels guilty while G. Gordon Liddy is seen as a buffoon. Woodward and Bernstein are also portrayed for laughs with Bernstein as this smallish ladies man while Woodward is seen as the desperate straight man. Even some of the dialogue maintains the sense of humor such as a scene where Arlene asks Betsy about the meaning of Deep Throat which Betsy whispers into Arlene’s ear as it shows how innocent they are.
Andrew Fleming’s direction is quite straightforward in terms of the world that is the 1970s in Washington D.C. as it plays into the lives of these two young girls. Some of which involves antics that are quite funny as it plays to how dim-witted the girls are at times yet they mean well. Even as it includes a very hilarious subplot where Arlene falls for Nixon as she would be the cause that would have Nixon erase 18 ½ minutes from tapes he had recorded. There’s also some dramatic liberties that Fleming takes advantage in order to keep things funny such as the Nixon-Leonid Brezhnev peace accord. Much of the compositions are simple in order to create something that feels naturalistic as well as in scenes to re-create important moments in history. Especially in the idea that a couple of young girls would be the one that would be the one to take Nixon down. Overall, Fleming creates a very witty and fun film about two girls taking down Richard Nixon.
Cinematographer Alex Gruszynski does excellent work with the film‘s cinematography as it‘s very colorful to play into much of the sunny look of Washington D.C. as well as some of the interiors and lighting such as the Watergate break-in. Editor Mia Goldman does terrific work with the editing as it‘s straightforward with some stylish jump-cuts and montages to play into the film‘s humor. Production designer Barbara Dunphy, with set decorator Donald Elmblad and art director Lucinda Zak, does brilliant work with the look of the Oval Office and some parts of the White House as well as Arlene‘s room and her wall that featured Bobby Sherman at one point only to be replaced by Nixon. Costume designer Deborah Everton does fantastic work with the costumes from the youthful clothes that the girls wear that expresses their love of fashion.
Visual effects supervisors Michael Lennick and Ray McMillan do nice work with some of the few visual effects such as backdrops for some scenes set in the White House exteriors. Sound editor Steve D. Williams does superb work with the sound from the way some of the police sirens sound to some of the things that occur inside the White House including the sound of the tape recordings. The film’s music by John Debney is pretty as it‘s mostly low-key which is just orchestral music to play into the suspense and humor while music supervisor Ralph Sall creates an absolutely delightful soundtrack that features music from the Jackson 5, Yes, Grand Funk Railroad, Elton John, ABBA, LaBelle, George McCrae, Harry Nilsson, Bread, Love Unlimited Orchestra, Redbone, David Essex, Carly Simon, and a couple of covers by Michelle Williams and Sixpence None the Richer.
The casting by Pam Dixon is incredible as it features one hell of an ensemble that includes small roles from Ryan Reynolds as a boy Betsy flirts with at Bob Haldeman’s house, Devon Gummersall as Betsy’s stoner brother Larry, French Stewart as a TV interviewer at the beginning of the film, G.D. Spradlin in one of his final performances as Washington Post editor Ben Bradlee, Ana Gasteyer as the President’s secretary Rose Mary Woods, Ted McGinley as Arlene’s mother’s new boyfriend, Karl Pruner and Shannon Lawson as Betsy’s parents, Len Doncheff as Leonid Brezhnev, and Teri Garr as Arlene’s lonely mother. Harry Shearer is terrific as the very threatening but buffoonish G. Gordon Liddy while Dave Foley is excellent as the White House Chief of Staff Bob Haldeman who is depicted as a total asshole. Jim Breuer is fantastic as Nixon’s lawyer John Dean who would feel guilty for working with Nixon while Saul Rubinek is wonderful as Henry Kissinger who often feels left out by Nixon while having a great duet of Hello Dolly with Brezhnev.
Will Ferrell and Bruce McCullough are hilarious in their respective roles as Bob Woodward and Carl Bernstein with Ferrell as the straight man who is trying to maintain his serious reputation while McCullough brings a more comical approach to the role of Bernstein in his attempt to be very good-looking. Dan Hedaya is phenomenal as the titular character as he brings a lot of humor to the role of Nixon while being a mean man who kicks his dog and is very prejudice as Hedaya puts a lot of gravitas as Richard Nixon. Finally, there’s Kirsten Dunst and Michelle Williams in sensational performances in their respective roles as Betsy and Arlene. Dunst is the more ditzy of the two as she has this charm that makes her so delightful to watch while Williams is the more introverted as she falls for Nixon. The two together have great chemistry together in the way they play out each other as well as admit the fact that they are dumb girls.
Dick is a remarkable film from Andrew Fleming that features amazing performances from Kirsten Dunst, Michelle Williams, and Dan Hedaya as Richard Nixon. It’s a film that manages to take a unique premise and make it very enjoyable while it is also oddly compelling for the fact that it does play with American history. Even to the point of subverting some facts and things that really happened and get away with it. In the end, Dick is an incredible film from Andrew Fleming.
© thevoid99 2014
Directed by Marc Forster and written by Zach Helm, Stranger Than Fiction is the story of an IRS auditor who learns that he’s a character in a book that’s being written as he also learns that he is about to die. The film is an exploration into a man learning about his death as he tries to make some changes where he falls for an anarchist baker while the writer tries to figure out how to end her book. Starring Will Ferrell, Emma Thompson, Maggie Gyllenhaal, Queen Latifah, Tony Hale, Linda Hunt, and Dustin Hoffman. Stranger Than Fiction is a quirky yet charming film from Marc Forster.
The world of reality and fiction is very unique as the film is an exploration of a man who hears a mysterious voice where he learns that he is a character for a book being written as the writer reveals that he will die. While dealing with this crisis about his death, Harold Crick (Will Ferrell) tries to come to terms with his work as an IRS auditor as he falls for an anarchist baker in Ana Pascal (Maggie Gyllenhaal). Especially as he decides to live his life without thinking about numbers while coming to a literary professor about his experiences. Meanwhile, the book’s writer in Karen Eiffel (Emma Thompson) is dealing with trying to find a way to kill Harold Crick for her book where Crick eventually finds out the identity of the narrator he’s been hearing. It all plays into a writer dealing with her own artistic morality and a man dealing with who he is as they both endure their own existential crises.
Zach Helm’s screenplay starts off playing into what Harold Crick does as he lives his life based on numbers as it is part of a routine that he does. Much of it is told through Eiffel’s narration where all of a sudden, Crick starts to hear her voice as it would affect his work where he would meet his greatest challenge in Ana who despises everything that Harold does as she refuses to pay taxes that she owes. Harold’s encounter with Ana and some of things that’s happening to him in his life would force him to make some changes as he seeks the advice of literary professor Jules Hibbert (Dustin Hoffman) who is asked to find any idea on who the author is which adds to this blur of reality and fiction.
Especially as some of the fiction is played in Eiffel’s head as she struggles with writer’s block while she is being watched by an assistant in Penny Escher (Queen Latifah) who is making sure that Eiffel finishes her book. Yet, reality and fiction would eventually collide when Eiffel learns that the character she is creating is indeed real where it would play not just into her conflict about her ending but also a conflict in Harold over what he would do. Even as Hibbert would play a role into Harold’s fate based on his literary expertise as it plays into the conflict of what is right for the sake of art.
Marc Forster’s direction is very simple in terms of his compositions yet manages to infuse a lot of light-humor and drama to play into the quirkiness of the film. Much of it is shot on location in Chicago which plays into this world that is quite modern but also quaint as it serves as this unique reality in Harold’s life where he has his routines only for things to fall apart in the course of the film. Some of the direction include some unique wide shots, medium shots, and close-ups along with some very engaging approach to the framing in the way Crick is portrayed early on as he is shown in very tight framing devices. Things definitely change once he starts to loosen up and the film begins to feel much looser while the scenes involving Eiffel are a mixture of differing styles where she’s dreaming in some scenes while her struggles are shown in very direct medium shots and close-ups. Even as Forster maintains that idea of comedy vs. tragedy that adds to the film’s conflict where it would play into the climax over what might be Harold’s death. Overall, Forster crafts a very exhilarating and witty portrait of a man who learns about his death as he starts to live and defy the expectations of his possible fate.
Cinematographer Roberto Schaefer does excellent work with the film’s cinematography where he infuses a few shadings and such for some of the film’s interior settings along with low-key lights for some scenes set at night while keeping the daytime scenes very simple. Editor Chesse does nice work with the editing with its rhythmic cuts to play into some of the film’s action and humor while infusing a few montages in the film. Production designer Kevin Thompson, with set decorator Ford Wheeler and art director Craig Johnson, does fantastic work with the very lifeless look of Harold‘s apartment and the IRS office to the more colorful and lively look of Ana‘s bakery and home.
Costume designer Frank L. Fleming does terrific work with the costumes as it’s mostly casual while the clothes that Ana wears play to her anarchist ideals. Visual effects supervisor Kevin Tod Haug does amazing work with the visual effects that often pop-up to play into Harold’s obsession with numbers. Sound editor Geoffrey G. Rubay is superb for the way it plays into some of the film’s locations as well as Harold’s reactions to what he’s hearing. The film’s brilliant music soundtrack is supervised by Brian Reitzell and Britt Daniels as they provide their own score that mixes a few orchestral pieces with some post-punk based cuts while the soundtrack includes pieces by the Clash, the Jam, Spoon, Wreckless Eric, Delta 5, and M83.
The film’s casting by Kathy Driscoll and Francine Maisler is great as it features some notable small performances from Linda Hunt and Tom Hulce as two shrinks that Harold meets upon his breakdown plus a terrific performance from Tony Hale as Crick’s co-worker and friend Dave who tries to find a fun life outside of work. Queen Latifah is excellent as Penny who watches over Eiffel to see if she’ll finish the book while being baffled by Eiffel’s quirky behavior. Dustin Hoffman is amazing as Professor Jules Hibbert as this very smart man who knows about the ideas of literature as he tries to help Harold over his situation while being someone who will play into Harold’s fate. Emma Thompson is brilliant as Karen Eiffel as a revered novelist who is struggling to finish her book and kill Harold Crick as Thompson brings a lot of humor to her character as well as an internal conflict over artistic morality.
Maggie Gyllenhaal is fantastic as Ana Pascal as this fiery baker who refuses to pay her taxes due to her anarchist beliefs as she tries to torture Harold only to realize that he’s not a bad guy as it’s a performance full of humor and warmth. Finally, there’s Will Ferrell in a remarkable performance as Harold Crick where it’s Ferrell in a very restrained performance where he endures all sorts of humiliating moments while trying display someone who had been obsessed with his routines only to be alive as it’s a performance with a lot of heart that showcases Will Ferrell doing more than what is expected from him in the comedies he’s usually in.
Stranger Than Fiction is a phenomenal film from Marc Forster that features a winning lead performance from Will Ferrell. Along with great supporting work from Maggie Gyllenhaal, Emma Thompson, Queen Latifah, and Dustin Hoffman. It’s a film that plays into the world of reality and fiction plus a man trying to find a new lease on life. In the end, Stranger Than Fiction is a witty yet sensational film from Marc Forster.
Marc Forster Films: (Everything Put Together) - (Monster’s Ball) - Finding Neverland - (Stay (2005 film)) - (The Kite Runner) - Quantum of Solace - (Machine Gun Preacher) - (World War Z)
© thevoid99 2014
Originally Written and Posted at Epinions.com on 8/6/06 w/ Additional Edits & Revisions.
Directed by Adam McKay and written by McKay and Will Ferrell, Talladega Nights: The Ballad of Ricky Bobby is about NASCAR driver whose life of winning and having everything is ruined by the arrival of a Formula One Frenchman who destroys Ricky Bobby's world as it would take those who really care for him to get him back on top. The film is another exploration of a buffoon who is forced to deal with reality as well as he also deals with abandonment issues with his father as Will Ferrell plays the titular character. Also starring John C. Reilly, Amy Adams, Gary Cole, Jane Lynch, Sacha Baron Cohen, Andy Richter, Leslie Bibb, David Koechner, Molly Shannon, Pat Hingle, Greg Germann, and Michael Clarke Duncan. Talladega Nights: The Ballad of Ricky Bobby is a hilarious comedy from Adam McKay.
The film is a simple story about a man who always wanted to be a NASCAR racer after his father Reese (Gary Cole) gave him advice when he showed up one day at school for career day. For Ricky Bobby, he would take his father's advice where he would become the king of NASCAR while having his friend Cal Naughton Jr. (John C. Reilly) be his racing partner as they become the duo known as "Shake N' Bake". With lots of money, the best pit crew ever, a hot wife named Carley (Leslie Bibb) and two kids in Walker (Huston Tumlin) and Texas Ranger (Grayson Russell), Ricky seems to have it all. Yet, issues with his fathers and the arrival of former French Formula-One racer Jean Girard (Sacha Baron Cohen) would ruin things for Ricky until his father and a few others would help Ricky regain his confidence. It's a film that doesn't have much of a plot but it does have a lot of silliness as well as a bit of satire into the world of NASCAR.
What makes Talladega Nights appealing is that the same brand of humor that was in Anchorman is that director Adam McKay and co-writer Will Ferrell understands what is funny. While they chose to not bring in a very strong plot that is predictable to more cynical audiences. McKay and Ferrell just go for the comedy and let the story win its audience thanks to an abundance of great characters and a structure to the screenplay that is very well-handled in its simplicity. The comedy however, is more improvised while the scripted moments works to convey the story. The result is that McKay manages to bring enough humor to balance some of the more hearty moments concerning Ricky's abandonment issues with his father. Plus, McKay's vision of NASCAR isn't to satirize or to give scope to its culture other than the fact that it's an event many people including families love to go to. To see cars race against each other despite some of its violent moments involving crashes.
Helping McKay in his extraordinary vision is cinematographer Oliver Wood who brings some wonderful coloring to the film's exteriors, notably the NASCAR scenes while giving the film a real sense of style and intensity to the race scenes. Production designer Clayton Hartley and art director Virginia L. Randolph do great work of exploring the world of NASCAR with its array of bars, Southern upper-class and lower-class homes, and most of all, the location of Applebee's. Costume designer Susan Matheson does great work in the look of the drivers like Ricky's Wonderbread jumpsuit, Cal's Old Spice suit, and Jean's Pierre suit. Editor Brent White brings a wonderful pace and rhythm to the editing, especially when timing its comedic moments that allows the audience to savor a funny moment and have the time to laugh. Sound editor George H. Anderson also does great work in conveying the loud atmosphere that is NASCAR.
The film's music is filled with an array of country, Southern-style music, and metal courtesy of composers Anthony Short and Alex Wurman. The soundtrack is a mix of stuff like Monster Magnet, AC/DC, Buckcherry, Journey, Pat Benetar, and a lot of classic rock. Overall, it's a fine soundtrack while some songs, notably a Pat Benetar will never be the same once they're heard. I should also note that during the crazy credits, watch out for John C. Reilly and notably, Michael Clarke Duncan doing some singing.
Finally, there is the film's cast which is way bigger and funnier cast than the people Ferrell and McKay assembled for Anchorman. With cameos from the like of several NASCAR-related broadcasters plus NASCAR drivers like Darrell Waltrip and Dale Earnhardt, Jr., and hilarious small performances from Molly Shannon as Larry's drunk wife, Andy Richter as Jean's dog-trainer husband Gregory, director Adam McKay as the driver Ricky replaces, Jason Davis as a Waffle House manager in the career-day scene, and unspoken cameos from Elvis Costello and Mos Def. Ferrell/McKay regular David Koechner doesn't get much to do as one of the pit crew yet manages to make a memorable, funny small appearance as does Ian Roberts and Jack McBrayer who say some funny lines. Pat Hingle is also good as the prideful Dennit while Jake Johnson and Luke Bigham are excellent as the young Ricky and Austin Crimm as the young Cal.
Houston Tumlin and Grayson Russell as Walker and Texas Rangers are very funny boys as they're given some of the film's funniest and filthiest lines as you just can't beat two little boys saying mean things about their grandfather. Greg Germann is also good as the corporate, heartless Larry who thinks nothing about making money while manipulating the minds of Cal and Carley for his own gain. Leslie Bibb has some funny moments as Carley while doing some fine work as the wife who cares about nothing but being rich and having it all while looking hot. Fresh off her Oscar-nominated performance in Junebug, Amy Adams is even hotter, I mean hot like FIRE-HOT! as the sweet, caring assistant Susan. Though Adams doesn't appear much, her performance is great, notably in the third act as she proves her comedic talents while looking very hot as she does a great job while leaving the audience wanting more of her.
Jane Lynch is very funny as the supportive, moralistic Lucy Bobby who is the perfect Southern mama with a bit of an eccentric side while she's the kind of mama you don't mess with. Lynch is memorable in every scene she's in while being very funny. Gary Cole is extremely funny as the drunkard, wild, and less moralistic Reese who may not be a great father or the role model that Ricky needed. Yet, Cole makes him interesting and very funny as a man who doesn't know how to be a dad yet becomes a great mentor for Ricky when he's down. Michael Clarke Duncan has a small role yet he's great in his role as the cautious, caring Lucius while delivering some of the film's funnier moments, notably in the final credits which you have to hear and see to believe. Sacha Baron Cohen, known to people as Ali G or Borat, gives one of the most hysterical and freakiest performances on camera. Cohen does a great, slimy French accent who has a taste for jazz, cappuccinos, books, and saying Ricky's name as "Y-ree-kee Boo-bee" while providing the right kind of match that Ferrell needed as the scenes they have are gold.
Ok, the Best Supporting Actor of the Year. Hands-down goes to John C. Reilly, who some say is this generation's Gene Hackman. Well, like Hackman, Reilly can't suck. Reilly is the perfect sidekick that Ferrell needed by just being very dim-witted, supportive, and deliver some of the film's funniest, improvisational one-liners while having some great chemistry with Ferrell. Reilly really brings a lot of the comedy and buddy-aspects of the film as it's one of his best performances since Reilly gives depths and laughs to a character like Cal Naughton, Jr. as Reilly is also riding high in Robert Altman's A Prairie Home Companion. Will Ferrell delivers in what is sure to be, another classic performance as Ricky Bobby. Ferrell is very good when he's playing dumb or ignorant while he's so great whenever he's in a desperate moment like running in his underwear, saying Grace to the Baby Jesus, crying about his daddy, or just racing. Ferrell is comic gold as he just delivers a performance that is magnificent and a character that is complex like Ricky Bobby.
Talladega Nights: The Ballad of Ricky Bobby is a phenomenal comedy from Adam McKay with another winning performance from Will Ferrell. Along with some strong supporting work from John C. Reilly, Sacha Baron Cohen, Amy Adams, and Michael Clarke Duncan, it's a film that definitely adds to the brilliance of the Ferrell-McKay collaboration. Even where it gets a chance to poke fun at winners while bringing in some bawdy humor that people can enjoy. In the end, Talladega Nights: The Ballad of Ricky Bobby is a marvelous film from Adam McKay.
Adam McKay Films: Anchorman: The Legend of Ron Burgundy - Step Brothers - The Other Guys - Anchorman 2: The Legend Continues - The Big Short - (Backseat) - The Auteurs #63: Adam McKay
© thevoid99 2014
Directed by Adam McKay and written by McKay and Will Ferrell, Anchorman 2: The Legend Continues is the sequel to 2004’s Anchorman: The Legend of Ron Burgundy that explores Burgundy and his cohorts in the world of 24-hour news. Set in the 1980s, the film has Burgundy not only deal with changing times but also the conflict he faces as not just an anchorman but also a father to a young boy with his wife Veronica Corningstone. Will Ferrell reprises his role as Ron Burgundy as he’s joined by Paul Rudd, Christina Applegate, Steve Carell, David Koechner, and Fred Willard who all reprise their roles from the first film. Also starring James Marsden, Meagan Good, Greg Kinnear, and Kristen Wiig. Anchorman 2: The Legend Continues is a very funny and exciting film from Adam McKay.
The film is about Ron Burgundy taking on the world of 24-hours news as he is asked to be part of the new medium after he had lost his job that his wife Veronica Corningstone (Christina Applegate) had gotten. With the help of his old news team in field reporter Brian Fantana (Paul Rudd), sports reporter Champ Kind (David Koechner), and the dim-witted weatherman Brick Tamland (Steve Carell), Burgundy does something outrageous to get ratings for the channel where he would eventually lose sight of what he was meant to do as he neglects his son Walter (Judah Nelson) and alienate his friends only to find redemption later on. It’s a film that sort of satirizes the idea of 24-hour news but also about what news channels had become where they give news on what people should see rather than tell more important stories.
The film’s screenplay by Will Ferrell and Adam McKay does have some elements of satire as well as jokes that play into Burgundy’s clueless nature as he has no idea about how much times have changed since the 1970s. Even as it relates to what Veronica wants as well as his relationship with his new boss in Linda Jackson (Meagan Good) who is African-American. Though some of the jokes about Jackson’s race as well as a few others go on for too long where there’s parts of the stories that makes the film uneven at times. Still, there’s some nice subplots that involve Burgundy trying to be a parent to his son Walter as well as a story where Brick falls for an equally dim-witted typist named Chani (Kristen Wiig) that manages to bring in some laughs.
McKay’s direction is a bit more extravagant this time around in not just the way the 80s sort of look but also how out of step Burgundy and his gang are in this new world. Even as McKay would create scenes early in the film about where the rest of the news team had been since the first film as much of the humor is still loose and vibrant. Many of the compositions are straightforward with some exception that includes a scene of the news team crashing inside a RV with all sorts of objects. There’s also another news team battle where it’s much bigger than the first film with more outrageous cameos. Though there’s some flaws in the film due to overlong jokes and some moments that aren’t well-executed. McKay does manage to craft a pretty solid and entertaining film about an anchorman dealing with his ego and role as a news reporter.
Cinematographer Oliver Wood does excellent work with the cinematography where much of it is straightforward in the film‘s locations is shot in Atlanta,New York City, and San Diego . Editors Brent White and Melissa Bretherton do terrific work with the editing where it does play into many of the film‘s humor as well as its structure. Production designer Clayton Hartley, with set decorator Jan Pascale and art director Elliott Glick, does fantastic work with the set pieces from the look of the GNN news office as well as the apartment loft that Burgundy and his team live in.
Costume designer Susan Matheson does amazing work with the costumes from the suits to the clothes the women wear. Hair stylist Monty Schuth does fabulous work with the hairstyles of the men including the perms that Burgundy and his team briefly wear. Visual effects supervisor Eric J. Robertson does nice work with some of the film‘s minimal visual effects such the RV crash scene and the moments in the all-out news team battle at Central Park. Sound editor George H. Anderson does superb work with the sound in some of the film‘s sound effects as well as the chaos in the news battle.
The film’s music by Andrew Feltenstein is pretty good for some of the themes as it‘s low-key in its orchestral setting while music supervisor Erica Weis creates a fun soundtrack that is filled with a mix of 70s/80s soft-rock music of Captain & Tenille, Christopher Cross, Kenny Loggins, England Dan & John Ford Coley, and John Waite as well as music from Grandmaster Flash & the Furious Five, Van Halen, and Hot Chocolate.
The film’s brilliant cast includes some notable small appearances from Josh Lawson as GNN creator Kench Allenby, Greg Kinnear as Veronica’s new boyfriend Gary, Fred Willard and Chris Parnell reprising their roles as Ed Harken and Garth Holliday, and Dylan Baker as the very fun GNN producer Freddie Sharp. James Marsden is terrific as the very good-looking news anchor Jack Lime who becomes Burgundy’s new rival while Meagan Good is wonderful as Burgundy’s boss/new lover Linda Jackson. Judah Nelson is excellent as Ron and Veronica’s son Walter who just wants his dad around while Kristen Wiig is very funny as the dim-witted typist Chani whom Brick falls for.
Christina Applegate is amazing as Veronica Corningstone as Burgundy’s wife who has the same ambitions as her husband but is dismayed by his decision as well as the state of news. David Koechner is superb as Champ Kind who is still this closeted homosexual with feelings for Ron as he brings in some good laughs. Paul Rudd is fantastic as Brian Fantana as the ladies man who is also sort of the group’s conscience as he is alienated by Ron’s growing ego. Steve Carell is great as Brick in the way he falls for Chani as well as respond to certain situations in the most hilarious ways. Finally, there’s Will Ferrell delivering another marvelous performance as Ron Burgundy as this man still out of step with the times while losing himself in his own ego where Ferrell brings a lot of humor and charm that makes Burgundy one of the great characters in comedy.
Anchorman 2: The Legend Continues is an excellent film from Adam McKay with Will Ferrell delivering another superb performance as Ron Burgundy. Along with a great supporting cast, some funny cameos, and lots of moments that will keep people laughing. It’s a film that proves to be a worthy sequel to the 2004 film despite its unevenness and a few lackluster jokes. In the end, Anchorman 2: The Legend Continues is stellar film from Adam McKay.
Adam McKay Films: Anchorman: The Legend of Ron Burgundy - Talladega Nights: The Ballad of Ricky Bobby - Step Brothers - The Other Guys - The Big Short - (Backseat) - The Auteurs #63: Adam McKay
© thevoid99 2013
