Wendell Baker (Luke Wilson) is a dreamer and schemer whose latest scam lands him in jail, alienating him from his longtime girlfriend (Eva Mendes). Eternally optimistic, Wendell makes the most of his time behind bars and vows to turn his life around. Upon release, he gets a job at a retirement hotel, where he befriends some of the elderly residents. Wendell’s new friends advise him on how to win back his girlfriend, while he helps them battle the hotel’s evil head nurse Neil King (Owen Wilson) and his right-hand man McTeague (Eddie Griffin).
As one of many in the ongoing trend of resurrecting old TV shows and turning them into contemporary Hollywood product, Bewitched tries awfully hard to distinguish itself. It succeeds in lots of surprising ways, not least of which is the star power brought by Nicole Kidman and Will Ferrell. Even if they don’t create the kind of romantic chemistry that would have elevated the already high concept, they act as delightful foils to each other, but more often to themselves. The conceit of this Bewitched is that it’s a self-reflexive look at the entertainment business, with Ferrell playing Jack Wyatt, an actor starring in an updated version of the classic TV show. Out of favor with the Hollywood elite and desperately in need of a hit, he insists on an unknown to play Samantha, as he wants the show to be about him, since if something doesn’t come his way soon, he’s going to be hearing a lot of no’s, despite the yes-men surrounding him. While his agent (Jason Schwartzman in hilarious high Hollywood sleaze mode) gets him the “unknown Samantha” deal, it’s Jack himself who discovers his own leading lady in the delightful figure of Isabel Bigalow (Kidman), who possesses just the right nose wiggle, not to mention other wiggles.
But wouldn’t you know it, Isabel really is a witch, and exactly the kind of “good” witch trying to rely less on her magical powers that Samantha Stevens was back in her “real” world. Instead of a cranky mother like Endora, Isabel has a distinguished father, Nigel (Michael Caine) who lurks around her as a constant reminder that she can’t be who she’s not (a mere mortal), and she certainly can’t be the star of some zany TV show. As the plot thickens and the movie’s reflexivity grows more convoluted, Nigel falls for the non-witch actress who plays Endora (Shirley MacLaine), and Jack and Isabel fall for each other. Here’s where the Ferrell/Kidman gel doesn’t quite become aspic, but her perkiness (I mean, come on, it is Nicole Kidman, for crying out loud) and his goofiness (Ferrell is at his peak of intelligent bumbling) are more than enough to make the entirety of the proceedings a delectable trifle. Director Nora Ephron has fun skewering her own business in the script she co-wrote with her sister Delia, and her eye for quality craft makes everything sparkle as it should. Even if we have yet to see the definitive remake of an old TV show on the big screen, at least Bewitched is well more than run-of-the-mill as so many adaptations have been, and so many will be. –Ted Fry
Will Ferrell is at his full, frenzied power as Phil Weston, a married, uncoordinated would-be sportsman with an uncoordinated would-be sportsman son–and an unresolved relationship with his coach father, Buck (Robert Duvall), who has very little tolerance for the uncoordinated. When Buck trades his own grandson to a real loser of a little league soccer team, Phil naturally takes over underdog coaching duties and the two men butt heads. You could easily, and perhaps rightfully, dismiss all of this as a dumb, demented Meatballs or Bad News Bears rip-off, but it’s pleasantly dumb and sometimes hysterically demented: Encouraged by his neighbor, ex-Chicago Bears coach Mike Ditka (yes, playing himself), Phil stops his vitamin regimen and becomes wildly addicted to regular doses of caffeine, which turns him into a monster of a team leader. In addition to Ferrell, Duvall does a doozy of a comic riff on his Great Santini role, and even Ditka is unexpectedly funny. It’s a formula film with just enough far-out notions to keep you chuckling. –Steve Wiecking
Will Farrell followed up his star-making vehicle Elf, which matched his fine-tuned comic obliviousness to a sweet sincerity, with a more arrogant variation on the same character: Ron Burgundy, a macho, narcissistic news anchor from the 1970s. Along with his news posse–roving reporter Brian Fantana (Paul Rudd, Clueless), sports guy Champ Kind (David Koechner), and dim-bulb weatherman Brick Tamland (Steve Carell, Bruce Almighty)–Burgundy rules the roost in San Diego, fawned upon by groupies and supported by a weary producer (Fred Willard, Best In Show) who tolerates Burgundy’s ego because of good ratings. But when Veronica Corningstone (Christina Applegate, View from the Top) arrives with ambitions to become an anchor herself, she threatens the male-dominated newsroom. Anchorman has plenty of funny material, but it’s as if Farrell couldn’t decide what he really wanted to mock, and so took smart-ass cracks at everything in sight. Still, there are moments of inspired delirium. –Bret Fetzer
Elf is genuinely good. Not just Saturday Night Live-movie good, when the movie has some funny bits but is basically an insult to humanity; Elf is a smartly written, skillfully directed, and deftly acted story of a human being adopted by Christmas elves who returns to the human world to find his father. And because the writing, directing, and acting are all genuinely good, Elf is also genuinely funny. Will Ferrell, as Buddy the adopted elf, is hysterically sincere. James Caan, as his rediscovered father, executes his surly dumbfoundedness with perfect aplomb. Zooey Deschanel, as a department store worker with whom Buddy falls in love, is adorably sardonic. Director Jon Favreau (Swingers) shepherds the movie through all the obligatory Christmas cliches and focuses on material that’s sometimes subtle and consistently surprising. Frankly, Elf feels miraculous. Also featuring Mary Steenburgen, Bob Newhart, Peter Dinklage, and Ed Asner as Santa Claus. –Bret Fetzer
Men Seeking Women is a comedy about three guys, not having much luck with women, engaging in a bet where the winner must obtain a girlfriend and live with her for three months. Whoever accomplishes this first wins the pot.
Grant Shaud plays Les, the instigator of the bet, while Will Ferrell and Anthony Palermo play Al and Nick, respectively. All three are close friends, and, on their 33rd birthday (all three were born on the same day) Les talks them into putting up 2 grand apiece for the bet, money none of them can really afford to lose.
On answering personal ads, all three men have various degrees of success. The funniest being Al (Will Farrell) getting cold feet when meeting his blind date in a restaurant, and trying to skip out on her through a bathroom window.
As the movie progresses, Les becomes entangled in a particularly sticky situation, Nick employs a bit of chicanery to try and win the bet, while Al goes through a series of very funny situations in his quest.
While this may seem like a romantic comedy of sorts, it’s more of an episode of Men Behaving Badly. As we get to know the men, we develop an understanding as to why none of them are involved in a committed, meaningful relationships with women. They claim to want what most of us want, but their actions seem to say otherwise.
Will Ferrell steals the movie, providing quite a bit of comic relief, but with a hint of underlying desperation that fleshes out his character nicely. While there are sometimes darker undertones that appear within the movie, I wouldn’t call this a black comedy. The superficialities that most people have seem to lie closer to the surface with these three men, especially Nick, and ultimately ruin their chances at succeeding with their relationships with women. There was a line in the movie, when Al and Les are talking about Nick where one of them says, “Nick’s world is a great place to live…if you’re Nick.” I think this can be said of all of them, and really works to illustrate their overall problem.
Soon we see negative effects on their lives, to which the men attribute to the bet, but it appears that the bet only served to amplify negative aspects already present within the men themselves. None of the men appear to be very likable from the start, garnering little sympathy from the audience as their misfortunes pile up, but the ending suggests maybe something was learned as each is forced to deal with the consequences of their actions.
In my opinion this movie is not a romantic comedy, so if that’s what you are looking for, look elsewhere. If you are looking for a fairly funny comedy with semi-serious undertones, then rent this movie before buying, see if it fits your tastes.
When three thirtysomething friends with woman troubles (Luke Wilson, Will Ferrell, and Vince Vaughn) decide to form a fraternity, it’s supposedly to save Wilson from losing his house, which the nearby college is trying to claim for academic purposes. But really, Ferrell and Vaughn are desperate to return to the reckless, feckless days of beer bongs and hot chicks, and they drag Wilson along with them as they throw themselves into gathering frat pledges of all ages. Old School could have been just another string of bad jokes hanging on a flimsy plot, but the script and the cast have a jovial energy and just enough grounding in reality–at least, up until the obligatory beat-the-system ending, but by that point you’ll forgive the excesses of this silly, cheerful, and frequently funny movie. Featuring Jeremy Piven and Juliette Lewis, with cameos by Snoop Dog, Andy Dick, and others. –Bret Fetzer
Charge your micro-mini cell phones and whip up some orange mocha Frappuccino, ‘cuz Zoolander is on the runway, and you’re gonna laugh your booty off! Based on a sketch created by writer-director Ben Stiller and cowriter Drake Sather for the 1996 VH1/Vogue Fashion Awards, Zoolander is a delirious send-up of New York’s fashion scene as epitomized by male model Derek Zoolander (Stiller), a dimwitted preener who’s oblivious to a Manchurian Candidate-like plot to turn him into a brainwashed assassin. Tipped off by a reporter (Christina Taylor), Zoolander teams with rival model Hansel (Owen Wilson) to foil the poodle-haired fashion designer (Will Ferrell) who’s behind the nefarious scheme. The goofy plot’s only half the fun; with roles for Stiller’s parents (Jerry Stiller and Anne Meara), dozens of celebrity cameos, endlessly quotable dialogue, and improvisational energy to spare, Zoolander is very smart about being very stupid, easily matching the Austin Powers franchise for inspired comedic lunacy. –Jeff Shannon
Over the years, Tim Meadows has proven himself to be a very funny supporting player on Saturday Night Live, but he never really had a breakout character that he and Lorne Micheals could spin off into a movie–until now. Based on his lisping “Ladies Man” character, Meadows plays Leon Phelps, a late-night sex advice host of a radio show who gets fired for racking up one too many FCC fines. His producer (Karyn Parsons) gets fired with him, and she combs the Chicago stations looking for another gig while he tries to find the one old flame who would be willing to support him for the rest of his life. You see, Phelps is a sexaholic who tends to sleep with frustrated wives, much to the chagrin of the husbands who inevitably catch them in bed together. A mob of husbands have formed a group, under the leadership of Will Ferrell (playing a tired stereotype of the closeted homosexual), dedicated to hunting down Phelps and killing him. The embodiment of the ’70s swinger, Phelps personifies both the good (sexual skills) and the bad (the wardrobe and fashion sense) of that icon, though the movie ends with your standard pro-family propaganda when he inevitably finds love and stability with his producer. The laughs do not come fast and furiously, sidetracked as they are by the so-called plot, but one thing must be said and said out loud: Billy Dee Williams is fantastic as the bartender-narrator. –Andy Spletzer
Molly Shannon, the latest Saturday Night Live comic to have a movie built around her, isn’t exactly funny–in fact, she’s a little unsettling. Her creation, the neurotic Catholic schoolgirl Mary Katherine Gallagher, invites laughter because she’s a little too close to the bone for anyone who grew up feeling ugly and unloved, which is a lot of people. Mary lives with her grandmother (Glynis Johns), who insists that Mary study business. Mary herself yearns to be famous and admired, though for what isn’t exactly clear; she envisions some vague combination of singing, dancing, and acting that will make her a superstar. A talent show promises to be her ticket to stardom (the winning prize is a role in “a movie with positive moral values”), and she won’t let her loser status or any hostile cheerleaders stand in her way. Meanwhile, Mary acts out dating fantasies with trees and signposts, envisions the school lunch room bursting into a Fame-like dance number, and longs for the biggest jock in school. What makes Superstar more than just a collection of bad high school memories is that, though the formulaic plot redeems Mary, the movie as a whole isn’t so sure. Mary completely loses herself in her obsessive fantasies–many inspired by cheesy made-for-TV movies–but there’s always someone watching, aghast, as Mary acts out her inner thoughts. Is she misunderstood or freakish? Superstar never commits to one side or the other, which makes it both comic and uncomfortable. –Bret Fetzer