Will Ferrell Movies

Much was written about Will Ferrell’s first “dramatic role” as Harold Crick, an IRS auditor who begins hearing a voice narrating his life. But Stranger Than Fiction is hardly a drama. However, what Ferrell does–like Jim Carrey before him in The Truman Show–is handle a toned-down character with genuineness and affection: you believe he is this guy. Crick leads a lonely life filled with numbers and routines. While at first he considers the voice a nuisance, Crick decides more action is needed when it speaks of “his demise.” Enter Professor Jules Hilbert (Dustin Hoffman), who takes on the absurd notion with revelry, trying to find out what kind of book Crick’s life is leading. It turns out that the voice Crick is hearing belongs to Kay Eiffel (Emma Thompson), a very real–and troubled–author who is writing a book in which Crick is a fictional character. As usual with these things, the stuffed shirt learns to live a better life–Crick even falls for one of his audits, a brash baker named Ana (Maggie Gyllenhaal). Marc Foster (Monster’s Ball, Finding Neverland) has the right tone for the film, using great urban scenes (the unnamed city is Chicago) with interesting visualizations of Crick’s world of numbers. He also directs Ferrell, Hoffman, and Gyllenhaal to their most charming performances (plus Linda Hunt and Tom Hulce pop up in two funny scenes). Ferrell succeeds in being a romantic lead you can root for; a scene where he eats Ana’s freshly baked cookies is totally delightful without a hint of sarcasm. Screenwriter Zach Helm has two personal traits with his story: like Crick he followed his heart (he stopped rewriting scripts and only worked on his own) and like Eiffel, the final results are not a masterpiece, but good, and entertaining enough. Britt Daniel of the band Spoon worked on the dynamite soundtrack.–Doug Thomas

Reese (Zooey Deschanel, All the Real Girls) is a brusk barmaid/actress, toiling away in the East Village fringe circuit. Her father is reclusive J.D. Salinger-like author Don Holdin (Ed Harris, A History of Violence). Reese hasn’t seen him for years. One night after a performance, an editor from a major publishing house (Amy Madigan, Carnivàle), offers $100,000 for the letters he and her late mother exchanged during their courtship. Reese turns her down flat. Eventually, she changes her mind and takes off for rural Michigan to retrieve them. She finds the disheveled, hard-drinking Don living with former student Shelly (Amelia Warner, Quills) and ex-Christian rocker Corbit (a disarmingly straight-faced Will Ferrell). It’s a bizarre, if functional arrangement: Shelly cooks the meals, while Corbit serves as security guard. All try to make nice, but the coke-snorting, insult-flinging Reese won’t have any of it. She just wants to find the letters and go. This turns out to be trickier than expected, especially once she actually sits down to read them. Directed by and adapted from his two-act play, Adam Rapp’s Winter Passing is the kind of well-intentioned independent where longstanding family issues are solved in just a few days (to the gentle strains of Cat Power and the Shins). Nonetheless, it offers the unique opportunity to see Deschanel and Ferrell, Elf’s charmingly mis-matched couple, cast against type. As expected, Harris provides solid support, while Warner’s clear-eyed Shelly is the true heart of the story. –Kathleen C. Fennessy

Sweet baby Jesus, we thank you for blessing Will Ferrell and Adam McKay with the talent to create a NASCAR comedy as hilarious as Talladega Nights. The so-called “Ballad of Ricky Bobby” is hardly flawless in fact it’s not always firing on all cylinders but with comedy star Ferrell and director McKay still hot from the success of their previous comedy hit Anchorman: The Legend of Ron Burgundy, most of this 108-minute spoof of oval-track racing is so knee-slappin’ funny that you can’t help but surrender to the stupidity.

Obviously, Ferrell’s the shining star, and his portrayal of lead-footed pit-crew-member-turned-#1 NASCAR champion Ricky “I Wanna Go Fast” Bobby (how can you not love that name?) is spot-on perfect, righteously spoofing the entirety of NASCAR culture without insulting its oft-ridiculed roots in redneck bootlegging of a bygone era. You could even argue that Talladega Nights is truer to NASCAR than Tom Cruise’s Days of Thunder, and it’s certainly more entertaining, especially when you add John C. Reilly as Ricky’s life-long pal, teammate, and eventual rival Cal Naughton, Jr. (together they’re nicknamed “Shake ‘n Bake”), and Sacha Baron Cohen (from Da Ali G Show and Borat) as gay French “Formula Un” driver-turned NASCAR rival Jean Girrard, to a stellar cast including Molly Shannon, Greg Germann, Amy Adams and Michael Clarke Duncan.Sure, it’s mostly a showcase for Ferrell’s loud, over-the-top antics and nonsensical non sequiturs (like cameo appearances by Elvis Costello and Mos Def), but with Ferrell behind the wheel, Talladega Nights rolls into victory lane with fuel to spare, and there’s one final bit of comedy (with a tip of the hat to William Faulkner) for those who sit through the credits. –Jeff Shannon

A wild collection of hip actors–from Will Ferrell to Drew Barrymore to David Cross–provide voices for Curious George, based on the classic, gentle children’s books. Ted (voiced by Ferrell, Elf) works at a natural history museum that’s fallen on hard times. The museum director’s son (Cross, Arrested Development) wants to turn it into a parking lot, but Ted offers to bring back a mysterious idol from Africa that’s guaranteed to pull in crowds. Unfortunately, the idol turns out to be three inches tall. But Ted (who, before he heads on safari, gets outfitted in head-to-toe yellow, transforming him into the beloved Man in the Yellow Hat from the books) accidentally brings back a lonely yet irrepressible monkey, soon dubbed George. In no time at all George gets into all kinds of mischief–painting an apartment, soaring aloft with a bunch of helium-filled balloons, climbing on a dinosaur skeleton, and generally getting Ted into hot water. Older fans of the books will probably wince at the formulaic save-the-museum storyline, as well as at the obligatory love interest (Barrymore, Charlie’s Angels) whose role is utterly passive. Jack Johnson’s songs are so bland you can’t remember the melodies even as you’re listening to them, and the animation (an odd but not ineffective blend of two-dimensional drawing and CGI) has grossly cutified the book’s illustrations, eroding their origina charm (the contrast is made sadly clear by a montage of the original drawings over the closing credits). But the basic relationship between man and monkey remains sweet, and younger kids will delight in George’s innocent troublemaking. –Bret Fetzer