“If you were smarter you would realize how dumb you are,” says an embittered Miguel Ernesto, father of Will Ferrell’s Armando Alvarez, the oafish but sweet protagonist of Casa de mi Padre, 2012’s early front runner of the “How The Fuck Did This Movie Ever Happen?” award which –fear not- is not a harbinger of subtitled doom. It’s just that this movie is such an odd duck, so unique and just kind of weird, that it’s amazing that it found a theatrical release, even with the star power of Ferrell fueling it. The end result is a movie sure to be unlike any other this year and also very, very funny.

From the opening moments of the film, where Armando picks up a very alive white baby calf and then in the very next shot it is a black, stuffed prop, the ridiculousness bar has been set. This type of visual humor runs rampant through Casa de mi Padre, some of it obvious (a beautiful house maid carrying a tray of drinks entering the room in one shot and in the next, a burly, hairy arm serves the glasses), and some of it not so obvious (mannequins sloppily placed within a scene, a gaudy woodcut Wolverine statue in the background of a dinner sequence).

In the film, Armando is the younger brother of a successful Mexican ranch family. Ferrell is obviously white as rice, but there is no mention of this in the film. He is Mexican and you better damn well believe it. The Alvarez farm is an isolated enough location for drug runners to drive to when they must do their dirtiest of work and this notion is personified when older brother Raul (Diego Luna) returns home with fancy clothes, an expensive car, and a beautiful girlfriend in Sonia (Genesis Rodriguez). Sonia is not quite happy in her relationship with Raul, mostly because he is creeping in on the drug trade in Mexico, which also happens to be encroaching on the business of the feared La Onza (Gael Garcia Bernal). La Onza is such a badass that he can smoke two Virginia Slims-style cigarettes at the same time. His nicotine prowess does little to scare Raul, who continues his illegal work.

Meanwhile, Armando and Sonia grow closer and closer. He takes her to the most beautiful place he’s ever seen, a poorly lit, badly dressed pond area on the farm. They ride together on horses made of wood and fabric and we see the same three shots of Armando saying “Interesante” while Sonia talks of her younger life. The plot thickens when La Onza realizes that Sonia, his niece, has a relationship with Raul and uses her as leverage to get him to back off of his hostile takeover of the area’s drug trade. It’s a pretty simple task, what with the Mexican police and American DEA agents in his pocket. But both La Onza and the Alvarez family underestimate Armando and a fucked-out vision quest turns him into the man he was destined to become: an unstoppable Mexican killing machine.

Casa de mi Padre is a wildly funny send up of Mexican melodramas, telenovelas, Spaghetti Westerns, and B-crime pictures. The entirety of the film is spoken in Spanish, save for a few lines from the lone American DEA agent, which in and of itself is a pretty bold move considering the current film market and studios nervous about anything that wasn’t a video game or action figure in its past life. Ferrell does a great job navigating a foreign language and holds up well against the native speaking and incredible talents of Bernal and Luna. His and Adam McKay’s company Gary Sanchez exec produces the film and their trademark humor runs rampant throughout it. Don’t be put-off by the randomness of the humor though- this isn’t a Jared Hess movie where all the characters and the world within is made awkward simply in order to make fun of it all. Certainly Casa de mi Padre is poking fun at the 70s-era Mexican melodrama, but it does so lovingly. And not all the humor is at the genre’s expense. Take for example a scene in which Armando asks Sonia to go riding. He tries to help her onto the horse, but does so awkwardly, pushing her into the horse like she was a sack of potatoes. This sequence continues for about a minute. A great joke like this isn’t at the expense of the characters or the genre, it’s just hilarious. Musical numbers also pepper the film over the course of its brisk running time and while they aren’t anywhere near the caliber of joke songs that Matt Stone and Trey Parker have given us in the past, they are very welcome and give the film a nice little boost of energy (one in particular, in which the only lyrics are “La La La” and are still subtitled, is pretty great).

Casa de mi Padre is not going to be for everyone. Like Kung Pow: Enter the Fist and Machete before it, the movie is a send up of a genre that not all are familiar with, but contains great laughs for those willing to dive in. The platform release will hopefully allow it to grab a foothold at the box office and encourage people to seek it out. We need more unique and oddball comedies to compensate for the Hangovers and Wedding Crashers of the world.

Images courtesy of Pantelion Films and Lionsgate Inc.

For the third year in a row, the Academy of Motion Picture Arts and Sciences awarded the Best Picture Oscar to the most over-rated and over-hyped movie of the year. It started with the bland The Hurt Locker in 2009, the blander The King’s Speech in 2010, and now we have The Artist, a skillfully made film and one that deserves praise, but it was certainly not the single greatest film of 2011. The no-brainer Best Picture win of the night was the culmination of a droll and obvious awards ceremony, where there were absolutely no surprises and even fewer interesting moments which begged the question, “Why are we still watching?”

There was a time when the Oscars really meant something. When the most creatively successful and artistically present films were awarded prizes and those films were remembered and still resonated in the decades that followed. Now, of course, it is mostly a campaign that is as political as any presidential race and just as slimy and underhanded. The show itself was a mixed bag, nowhere near the black hole of suckage that was last year’s Franco/Hathaway train wreck. Billy Crystal may be old and predictable, but the cat is also reliable. His trademark opening video segment in which he adds himself into scenes of nominated films was funny and watching A-list actors provide their services to re-create scenes is always fun to see. The following musical number in which he recapped all the Best Picture nominees was okay, but generally meh. The brightest spots of the evening were few and far between, but those moments ended up glowing brightly amidst the dullness; the Cirque Du Soleil performance was as impressive as ever, and the SCTV/Christopher Guest troupe sketch about film focus groups was painfully true to life and very funny. Equally hilarious was Will Ferrell and Zack Galifianakis blasting cymbals into the faces of Brangelina, and newly crowned Oscar winner Jim Rash lampooning Jolie’s bizarre stance she displayed just seconds before handing him his trophy for Best Screenplay. None of it compared to the comedy home run of Sasha Baron Cohen, who came to the red carpet as The Dictator, spilled an urn containing the “ashes” of Kim Jong-il onto Ryan Seacrest, and was whisked away by security and never heard from again…

The wins of the night were all as predictable as any ABC procedural past or present, from Supporting Actress winner Octavia Spencer (it’s funny how shitting in a pie gets you an Oscar, but fucking one relegates you to teen comedies…) to Best Picture winner The Artist. People keep talking about how The Artist was a love letter to cinema…well, what the fuck was Hugo then? Hugo would fit that love letter bill much better than The Artist, but Hugo – of course – writes its cinema love letter with quiet subtlety, using fountain pen and parchment to The Artist’s gaudy, giant mylar heart balloon with streamers flying off of it. But the Academy is not known for picking subtle movies. After all, it didn’t recognize Drive for fuck all this year and gave the soap opera known as Crash top honors in 2006. But at least a film like Hugo was nominated and, in fact, was the most nominated film of the year. What speaks more to the tired process of the Oscars more than the nominated films and talent are the ones that got snubbed.

Drive is the most obvious and glaring snub of this entire awards season; easily the most critically praised movie to only be a blip on the Oscar radar (specifically, it was only granted one technical nomination). And what of Shame? The film itself is a searing portrait of sexuality and Michael Fassbender’s performance is absolutely the most raw, revealing (pun intended), and honest of the year and yet it joins the ranks of the forgotten. We Bought a Zoo, for all its old-Hollywood sentimentality, was a lovely tail (see what I did there?) about a man coping with loss and even if the competition was too fierce for the film itself, it has one of the most unique and gorgeous scores and original songs of any other film this year. Jonsi’s musical work in We Bought A Zoo is as significant as Trent Reznor and Atticus Ross’s contribution to The Social Network last year, but because Fox did not push the movie for awards, it simply drifted under the radar. Arguably, though, the biggest snub of the year next to Drive is Harry Potter and the Deathly Hallows Pt. 2. The entire Potter franchise has earned billions of dollars worldwide and every single entry was critically praised and yet in an environment that gives a Best Picture statue to The Return of the King in celebration of that fantasy trilogy’s entire creative and commercial success, the same good grace is not given to Harry Potter. If the Academy really did want to shrewdly try and harness that slippery 18-24 year old demographic, nominating this film would have been the smartest way to do it, especially because it’s a great fucking film. Instead, the dark horse slot is given to Extremely Loud & Incredibly Close.

An article in the Los Angeles Times provided an in-depth cross section of the Academy voters and though the data was no secret, seeing the numbers confirmed was still a shot to the gut. 94% of Academy voters are white and 77% of those are Male. What’s worse, the median age of a voter is 62 and less than 13% of voters are under 45. Knowing that it’s pretty much your grandparents who are voting for achievements in art, it’s easy to see where this train derails. How can a film like Shame or Drive or Harry Potter get properly awarded when the people doing the voting simply don’t understand or want to invest emotionally in a movie that is challenging their cobweb-filled head? The way the Oscars are executed needs to be changed. Drastically. It’s as outdated as the Nielsen ratings, Cameron Diaz, and Emo haircuts. The only reason that the Oscars are relevant anymore is because they serve as a career boost to the winners and people like seeing celebrities in gowns and tuxedoes. We need to look past the superficiality of it all and really do hard gut-check to find where this once prestigious awards show is broken and figure out a way to make it shine anew once more.

Images courtesy of FilmDistrict, The Weinstein Co., GK Films and IMDbPro

Poptimal.com and Warner Bros. are teaming up to get 30 lucky Poptimal fans into an advanced screening of the new movie Casa De Mi Padre. Here is your chance to win a pair (2) of tickets.

Thursday, March 8
7:30 PM
AMC Georgetown
Washington, DC

In Theaters Friday, March 16 (www.casademipadremovie.com)

Armando Alvarez (Will Ferrell) has lived and worked on his father’s ranch in Mexico his entire life. As the ranch encounters financial difficulties, Armando’s younger brother Raul (Diego Luna), shows up with his new fiancée, Sonia (Genesis Rodriguez). It seems that Raul’s success as an international businessman means the ranch’s troubles are over as he pledges to settle all debts his father has incurred. But when Armando falls for Sonia, and Raul’s business dealings turn out to be less than legit, all hell breaks loose as they find themselves in a war with Mexico’s most feared drug lord, the mighty Onza (Gael García Bernal).

Please note, tickets do not guarantee admittance. Seating is first come, first served.

Fill out the form below for a chance to win. (No Purchase Necessary) *** If you are on Twitter, you can get extra entries by following us at @Poptimal and send the following tweet: “I entered for a chance to win tickets to an Advance Screening of #CasaDeMiPadre. Thanks @Poptimal! – http://ht.ly/9ajyg” You will receive additional entries (limit one per day) to win the above prize.

Dear Santa,

It’s almost Christmas. I promise I’ve been good this year…you can even check my social networking accounts. So, I’ve put together a list with my special Christmas television wishes.

All I want for Christmas is…

• An invitation to Sunday night dinner with the Reagan family on Blue Bloods.

• That Mike & Molly’s wedding goes off without a hitch. Although, realistically that probably won’t happen.

• For Wade (Wilson Bethel) and Zoe (Rachel Bilson) to get together on Hart of Dixie. Also, for Lemon (Jaime King) to stop trying to be so perfect. She’s much more likeable when she’s more relaxed.

• For 2 Broke Girls’ Max (Kat Dennings) and Caroline (Beth Behrs) to get some new diner uniforms. That mustard yellow is just atrocious.

• On a similar note, some new clothes, or at least some longer running shorts, for Schmidt (Max Greenfield) from New Girl because he always seems to be half naked.

• For Chuck (Ed Westwick) and Blair (Leighton Meester) to be okay following that car accident in the Gossip Girl fall finale. Also, that these two lovebirds finally tie the knot.

• More shirtless Steve McGarrett (Alex O’Loughlin) on Hawaii Five-0. Plus, there’s always room for more McGarrett-Danno bromance.

• Mrs. Suit’s aka Elizabeth Burke (Tiffani Thiessen) safe return on White Collar.

• For a satisfying series end to In Plain Sight in its fifth and final season. It’s also probably about time Mary (Mary McCormack) & Marshall (Frederick Weller) got together.

• For Smash to be a hit! NBC could use one.

• For Modern Family to just keep on doing what it’s doing. Ditto with Happy Endings. These shows can do no wrong and just keep bringing the funny.

• Parenthood’s Amber (Mae Whitman) to realize that her calling is to work with kids who have disabilities, like her cousin Max (Max Burkholder) who has Aspergers syndrome, instead of continuing to work at the coffee shop.

• Please don’t let Poppy Montgomery’s show, Unforgettable, be cancelled. She deserves to be on television.

• All episodes of Homeland to be available On Demand or online so I can catch up on one of the most popular new shows.

• For Red Riding Hood (Meghan Ory) to be featured in an episode of Once Upon A Time. I think she’d have a pretty awesome storyline.

• That USA Network continues to air Elf before Christmas. There can never be enough Buddy the Elf.

Love,

Allison

PS- Since it is the season of giving…please give all Poptimal readers their own Christmas television wishes too. I’ll make sure I leave out extra cookies. Xoxo

 Images Courtesy of JoJo Whilden/CBS and Colleen Hayes/USA Network.

NBC’s seasonal TCA Press Tour is the network’s most major attempt to wow the media with their upcoming slate of programming for the fall schedule, which involves a fresh and expansive slate ranging from high-concept dramas to classically structured, multi-cam sitcoms. The tone was one of high hopes and new beginnings as NBC enters yet another season in last place (against the other big three networks), prime to reclaim lost thunder.

The first morning’s event kicked off with a presentation by new network chairman Robert Greenblatt, who announced an aggressive new approach to their comedy development, forging deals with near-sure things Greg Daniels and Gary Sanchez Productions. The Daniels deal will focus on animated programming, where Daniels gained his footing while running King of the Hill with Mike Judge. “We are very fortunate to continue our productive creative relationship with Greg Daniels, a gifted and extremely versatile producer-writer,” Greenblatt confirmed. The deals with these comedy powerhouses are inspired and will hopefully bring some new flavor and edge to a network whose comedy crow’s feet are beginning to show. After Greenblatt’s announcement, the whirlwind tour began and packed an all-star punch.

Free Agents seeks to be the Californication of NBC, a single-camera comedy based on a UK export that revolves around the aftermath of two co-workers (Hank Azaria, Kathryn Hahn) sleeping with one another and the awkwardness that ensues in the aftermath of the hook-up. The two principles are supported by a ridiculously strong supporting cast including Anthony Head, Natasha Leggero, and Joe LoTruglio. The State alum LoTruglio may have been a bit confused, but nonetheless enthused, exclaiming, “I have to say, for my first Comic-Con, you guys look amazing!” Joking, of course, but breaking the ice enough to delve into the sexual nitty-gritty of the show. Whereas the vast majority of shows build and build a male/female relationship undoubtedly towards romance, Free Agents completely eschews the notion, getting all that nasty sex out of the way in the pilot episode. But who would make such a rash decision? How about anyone? “He’s just a wreck,” Azaria explains of his character. “And men are more and more being allowed to show their vulnerability and admit they have no idea what they are doing.” Hahn, too, delights in the flaws of her character. “She has a lot of pride, and I think that it is kind of her armor. And underneath she’s a mess. Just a mess,” she admitted. Lending an extra dosage of uncomfortability is the consummate Anthony Stewart Head, reprising his role from the British export. “I’m just inappropriate. His behavior is undoubtedly inappropriate on every level,” he said. Look to see gobs of up-tempo, fast-talking, His Girl Friday-style freak outs in which the creatives see an infinite amount of possibilities. “We could take it so many different places,” Hahn muses. “This will ebb and flow. There’s going to be a instant push-pull I’m sure.” Executive Producer Todd Holland smiles in agreement. “Sooner or later,” he said, “when you’re all trapped in one space, somebody is going to sleep with somebody.”

Double-fisting the Wednesday night funny with Free Agents is Up All Night, a show that has a pedigree that any comedy would die to be born from. Executive produced by Lorne Michaels, birthed from a seasoned SNL writer, and starring Will Arnett, Christina Applegate, and Maya Rudolph, Up All Night has already become NBC’s most touted new comedy this side of Whitney and looks to have expectations just as high. Rather than being ripped from the headlines, the show’s inspiration instead lies within the life of creator and SNL writer Emily Spivey. “It came from having a baby, getting promoted at SNL…and thinking, ‘Oh, I can do this..’ and it was just a real trial,” Spivey explained. What wasn’t so much a trial was getting Lorne Michaels on board as an Executive Producer, who warmed to the idea immediately. “It didn’t feel like it was well-trod territory. I know Lucy had a baby and people have been having babies on television for a long time, but it is always just off stage. And this was…what it’s like to be a modern parent at this moment,” he said. The show also has a rich pool from which to draw material, with all of the main cast officially parents themselves. Case in point, a story line currently in development that spawned from a story Applegate retold about deciding on what she and her husband decided to call the baby’s “no-no place.” Comparatively, Arnett’s brow furrows at the thought of parenthood. “I was legitimately Up All last Night,” he quipped. Rudolph smiles, commiserating. “I feel like any point that we’re all together, one of us can say that and it’s actually true.”

Switching gears to drama, the peacock presented its newest take on the procedural, cop-drama Prime Suspect. Adapted from the Helen Mirren starrer of the same name, the show follows the exploits of Jane Timoney, an iconoclastic female detective who must carve her own path within the male-dominated NYPD Homicide division. At the thematic forefront of the show is the inherent sexism that will come with everyday interactions amongst the characters, though Executive Producer Alexandra Cunningham ensures that it will not be a hard and fast focal point. “I think some of the characters will react to her in a traditionally sexist way, and other characters will just not like her because of the person she is, that she’s very rude and uncompromising and ambitious.” Cunningham also promises to be in spirit with the original series, but won’t be beholden to it, a method that has garnered praise from none other than original Prime Suspect creator Lynda La Plante. “She couldn’t be happier that Maria’s shouldering the character now, and she said a lot of stuff that brought a tear to my eye,” Cunningham said. Maria Bello also couldn’t be happier about the role, explaining, “My favorite shows growing up were Baretta and Columbo and Kojak. They were all detectives that had a little weird thing, their own quirk. And we haven’t seen a woman like that on television, a woman detective. So I feel really lucky that I get to explore her.” Also adding a touch of grit and realism to the show is Executive Producer Peter Berg, who also directed the pilot. “The two things that were really important to us were, ‘A: Casting’, but the other, frankly, was to make sure we protect a certain audience expectation and that being a procedural expectation,” he said. So in short, expect a Case-of-the-Week type structure with more attitude and dramatic grit than you can shake a police baton at. “These are all extraordinary actors,” Berg stresses. “They don’t look like a bunch of Abercrombie & Fitch models running around solving homicides in Miami, all backlit with greens and blues.” It seems that Bello is primed to make considerable waves both off and on camera. How long her character, and the show for that matter, can last before breaking is anyone’s guess.

Free Agents and Up All Night debut Wednesday, September 14 at 10:30/9:30c and 10/9c, respectively, on NBC.

Prime Suspect premieres Thursday, September 22 at 10/9c on NBC.

Stick with Poptimal for more coverage of the NBC fall schedule.

Images courtesy of Keith Kuramoto for Poptimal and NBC.

Anthony Stewart Head of "Free Agents" Anthony Stewart Head of "Free Agents"	Anthony Head leaps across the pond for US version of "Free Agents" Anthony Head leaps across the pond for US version of "Free Agents"	Anthony Head reprises his role as Stephen in "Free Agents" Anthony Head reprises his role as Stephen in "Free Agents"
The cast of "Free Agents" The cast of "Free Agents"	The cast and producers of "Free Agents" The cast and producers of "Free Agents"	Hank Azaria, star of "Free Agents" Hank Azaria, star of "Free Agents"
Kathryn Hahn, star of "Free Agents" Kathryn Hahn, star of "Free Agents"	Lorne Michaels, executive producer of "Up All Night" Lorne Michaels, executive producer of "Up All Night"	Lorne Michaels of "SNL" fame and "Up All Night" Lorne Michaels of "SNL" fame and "Up All Night"
Maria Bello, star of "Prime Suspect" Maria Bello, star of "Prime Suspect"	Maria Bello stars as Jane Timoney in "Prime Suspects" Maria Bello stars as Jane Timoney in "Prime Suspects"	Maria Bello talks "Prime Suspects" with Poptimal Maria Bello talks "Prime Suspects" with Poptimal
Maya Rudolph of "Up All Night" Maya Rudolph of "Up All Night"	Christina Applegate, star of "Up All Night" Christina Applegate, star of "Up All Night"	Peter Berg, executive producer of "Prime Suspect" Peter Berg, executive producer of "Prime Suspect"
Peter Berg of "Friday Night Lights" promotes new series "Prime Suspects" Peter Berg of "Friday Night Lights" promotes new series "Prime Suspects"	The cast and producers of "Prime Suspects" The cast and producers of "Prime Suspects"	Left to right: stars Maya Rudolph, Will Arnett, Christina Applegate and executive producer Lorne Michaels of "Up All Night" Left to right: stars Maya Rudolph, Will Arnett, Christina Applegate and executive producer Lorne Michaels of "Up All Night"
Cast and producers of "Up All Night" Cast and producers of "Up All Night"	Cast and producers/creator of "Up All Night" Cast and producers/creator of "Up All Night"

Creed’s the man. Who’d have thought? No one, at least not until he rolls up to the office parking lot in a Porsche Boxster proclaiming, “It’s a beautiful morning at Dunder Mifflin, or as I like to call it, ‘Great Bratton’.” Unfortunately, he’s totally out of his mind, or at the very least, senile. Scranton needs a new manager, STAT. The search starts at Will Arnett’s feet. The search team, comprised of Jim, Toby, and Gabe begin interviewing candidates in earnest and we begin watching in a similar fashion, knowing that none of these guest-stars are really going to be the show’s new hire. After a while it feels like an exercise in futility and unfortunately, this is the structure of 70% of the episode which begins to grate even through many funny bits.

As Arnett begins to crash and burn mid-interview, the rest of the office has turned into a high school campus  during campaign week, with virtually all rolling the dice and fighting for the coveted manager spot, from the sheepish (Andy quietly wears an “Andy For Manager?” button) to the savvy (Darrell’s self-proclaimed strongest skill: “I’m blaaaaack!”). Dwight, however, has pulled a complete 180 and is no longer even working, instead opting for the silent protest of sitting around in his pajamas and reading the newspaper at his desk, more specifically the classifieds. Yes, Dwight is thinking about moving on.

Enter James Spader, who is hands down the most awesomely hilarious candidate of the episode. For the team, interviewing him is like looking down the barrel of a gun as his misdirected intensity sucks all the air out of the room. Consider his answer to a basic interview question: “There is no such thing as a product. There is only sex.” Post-interview, Jim breaks the silence and admits, “He creeps me out. But I think he might be a genius.” Minutes later in the building lobby, Dwight overhears Spader ripping on the company to an incoming Ray Romano. It’s a truly weird scene in a lot of ways, most pointedly being that James Spader could very well be Dwight Schrute’s Bizzaro-World doppelganger, or more specifically if Dwight popped one of those transparent pills from Limitless, he would become Spader. But the belittling of Dunder-Mifflin is more than enough to set a hatless Dwight off and gives him a sudden burst of inspiration. “See my hat?” he challenges. “That’s because I just threw it in the ring.”

It’s about here that the structure of the episode begins wearing thin and it feels like everyone is on auto pilot. The Manager interviews continue their round-robin of ridiculous. Cue the talking-head segments. Back to interviews, rinse and repeat. Every so often a gust star like Ricky Gervais will come in and quell the monotony, but it is short lived. Jo (Kathy Bates) arrives after the interviews have wrapped to assess where the branch is at. She is immediately pounced on by Dwight, begging for an interview she does not grant. This doesn’t stop Dwight though, and he goes to great lengths to try and get his foot in the door, going so far as to wrap himself head-to-toe in bandages, playing the (burn) victim, but fails gloriously. Despite his insanity, Jo allows Dwight to interview (“I like a little crazy”), the fallout of which leads to an open forum on the office floor, with everyone airing their grievances and opinions of who they want as a boss. The search team reconvenes to make a decision…and it just kinda ends.

Unfortunately, the biggest misstep of the entire finale is the ending, by which I mean there is none. That’s not to say it’s lacking some sort of finality or cliffhanger- its not (Mad Men’s finales by comparison are structured similarly, but there’s always a sense of closure). It simply fails to move forward at all and fully shows how the episode more or less runs around in a circle chasing its tail for an hour. The entire episode is built around finding a new boss, but there isn’t even a loose decision made by the time it’s over and it simply just feels like a waste of time. The show would have been much better off ending the season with Michael’s departure, leaving these last few episodes including the Ferrell arc to kick-start the new season next fall. All in all, the finale wasn’t a total misfire, but it came frustratingly close, especially when you expect some sort of answer and are led on for an hour to end up not getting what was promised. Bummer.

Season 7, Episode 23: “Search Committee” (originally aired May 19, 2011)

Is The Office lost without Michael Scott? Post a comment in our discussion boards below!

Click here for more Poptimal coverage of The Office.

Images courtesy of Chris Haston for NBC Universal and IMDbPro

Sometimes dreams really do come true. Sometimes, a worst nightmare is brought to life. In the case of “Dwight K. Schrute, (Acting Manager),” both happen for Dwight Schrute (Rainn Wilson) and the rest of the office when he is delegated interim manager. With D’angelo (Will Ferrell) in a coma and the office in a state of flux, the Scranton branch has been able to self sustain without a manager to great results; orders are going out on time, stress levels have dropped. There’s even a foosball table in the manager’s office. Life is good. That, of course, lasts all of fifteen seconds and when Jim passes up the opportunity to stand as acting manager for the office as to not ruin a good thing, the offer is brought to Dwight, who takes it with the dramatic reverence of a Shakespearian melodrama. It is both the dream and the nightmare horribly come to life. Pam’s quiet question to Jim speaks for us all: “What have you done?”

A week passes and in that brief amount of time, Dwight has turned the office into a Socialist’s fantasy playground. Everyone must punch in via an ancient time clock; oversized business cards have been distributed, their titles, all, “junior employee”; lunch breaks are painfully staggered (Jim’s is at 10:30 in the morning); the day starts by reciting the Pledge of Allegiance beside a hokey acrylic portrait of Dwight. All drama does not fall at the feet of Dwight, though. Still feeling threatened by Andy’s (Ed Helms) pseudo-friendship with Erin, Gabe drags him into the conference room for a good ol’ tongue lashing, though he pretty much ends up crying like a baby. Andy promises they are friends, whether it is true or not (spoiler alert: NOT). Gabe later professes his love (again) to Erin in the middle of the office, but Erin later reveals in an interview segment that she isn’t looking for a relationship and, regarding Gabe, “It was a challenge being touched by him.” Ouch.

Meanwhile, the Iron Curtain continues to fall on Scranton: everyone has copy codes. Coffee is on an Honor payment system. Stringent filters have throttled internet use. As if it couldn’t get any worse, Dwight is gifted a holster from his uncle and begins ambling around the office with the leather accessory hung low across his waist, with an actual gun resting in it. Needless to say this doesn’t exactly go over well and the office insists that Dwight stow the hand cannon. He finally gives, but not before spinning it around moronically…and accidentally firing it, nearly hitting Andy. Dwight down-plays the accident as Andy struggles to find perfect pitch. “I can’t find perfect C!” he wails. From here, you can more or less point to this as the moment when Dwight’s perfect little world begins to implode. Andy is rushed to the hospital after a WebMD diagnosis crashes and burns after hitting one of Dwight’s Internet filters and Toby begins to file an accident report. On top of this, Jo Bennett (Kathy Bates) is due to stop by the office to check in on things now that Michael has left.

The tide turns quickly and everyone starts using the gun shot as leverage to revert the office back to the way it was: no copy codes, no honor system coffee, no paintings. Jim’s request: for Dwight to work in “Shagadelic, Baby” into a conversation with Jo and to do jazz hands whenever he coughs. It’s a special torture in concentrated form and it’s awesomely hilarious. Amazingly, Dwight finds the willingness to come clean not because it’s the right thing to do, but because he loves the middling position of office manager so much that he won’t even let himself do it half-assed. Jo is none too pleased and immediately removes him as acting manager and decides to replace Dwight with someone based only on seniority, leaving Creed in charge. Dwight is crestfallen at losing his dream job, but Jim warmly reassures him that work during his tenure was good and maybe even “shagadelic.” It’s small moments like these that remind us that everyone within the office is one big family, no matter how at odds they are with one another, even Dwight.

Next week’s episode not only marks the season finale, but also the reveal of who will replace Steve Carrell. Not sure if it’s supposed to be some kind of big mystery, but between the massive guest stars, barring some secret left-field announcement, my money is on Ricky Gervais. Ray Romano already has a gig, Will Arnett isn’t high profile enough (though really, I desperately want him on this show), and Jim Carrey is just there to plug his inconceivably ridiculous new movie.  Seeing how Dwight is going to deal with the new hire is going to be way more interesting than seeing who it actually is, me thinks.

Season 7, Episode 23: “Dwight K. Schrute, (Acting) Manager” (originally aired May 12, 2011)

Discover the identity of the next Michael Scott on The Office season finale, next Thursday, May 19, at 9/8c on NBC

Images courtesy of NBC Universal and IMDbPro

Changes abound in the office and it’s not just a monumental personnel shift.  D’Angelo (Will Ferrell) schedules a meeting and, with great authority (“If you don’t like it – this is called a door, you can walk right through it. I live to leave at five.”), sends Darrell to business school, gives Toby a new chair, and integrates “Ice Cream Thursdays” into the schedule.  But the changes don’t stop there; an inner circle has formed with Jim, Gabe, Darrell, and Kevin where they discuss important office matters, much to the chagrin of the other office-ites, but most specifically Andy (Ed Helms). Despite the inner circle, D’Angelo does his best to make nice around the office, extending the olive branch to Dwight time and time again, only to have Dwight deflect every single gesture much to the new boss’s dismay. “It’s like my relationship with my son, except there, I’m the Dwight,” D’Angelo laments. The rubber hits the road when the two talk in the break room, ending with D’Angelo insisting that he will win over Dwight, shortly before fleeing back to his office.

There is some inconsistency with D’Angelo’s character, specifically between his random, crazier antics of last week (double-fisting cake, shoving marshmallows into the coffee maker) and this week, which feels like the EPs weren’t quite sure where to take his character, though it’s worth mentioning if the rumors are true regarding his full arc, it’s going to be one fucked up ending to the season. That said, the craziest thing D’Angelo does in this episode is perform a “motivational juggling” routine without any juggling props. It’s an awesome scene that shows Will Ferrell in his element, totally improvising the entire sequence, all to the tune of some guilty-pleasure nu-metal, courtesy of Evanescence.

While the employees on the main floor grapple with their new boss, Ryan (B.J. Novak) has woven an intricate lie that has him supervising Kelly (Mindy Kaling) even though the two are on even-footing. The ruse forces Ryan (or, if we’re being honest, just enables him) to reprimand Kelly for imaginary infractions whenever D’Angelo is around, but it is short-lived; Kelly can only take so much and quickly outs him, “Ryan isn’t my supervisor. He’s like Rango.” Ryan’s rebuttal? “I…have not seen Rango.” Impossibly, the entire argument goes over D’Angelo’s head and he decides to just keep Ryan as Kelly’s supervisor regardless.

Venting about D’Angelo in the break room, Angela calls him out as a sexist since he doesn’t ever talk to any of the females on the staff and no one can deny that she has a point. Jim takes the initiative to talk to D’Angelo about the issue, which turns into another inner circle meeting, but ultimately seems agreeable to addressing the complaint. Out on the main floor, he asks the oft-poignant question, “Raise your hand if you have a vagina. Raise your hand if someone you love has a vagina.” In a feeble attempt to douse the controversy, he hires a beautiful, inexperienced female as his assistant, but this of course doesn’t exactly work, though Dwight is actually willing to side with D’Angelo, “NBA. WNBA. One is a sport, and one is a joke. I love sports and jokes. What’s the big deal?”

Later on in the day, the inner circle receives texts for another meeting, except for Jim. Because of his feather-ruffling, Jim has been removed from the circle, made all the more clear when he crashes the meeting and is greeted with an uncomfortable silence which remains until he slinks out of the office. Meanwhile, Dwight continues to refuse D’Angelo’s gestures, even when they are liaised by his new assistant. “D’Angelo, tell your whore to leave me alone.”

Jim’s ostracization from the inner circle is short lived, being asked back in during a ridiculously intense game of office-basketball in D’Angelo’s office. Rather than accepting, he instead proposes an exhibition, calling out D’Angelo’s statement that he can dunk like Jordan. He reluctantly agrees to the challenge and the office reconvenes in the warehouse where a regulation-size hoop sits. He makes his dunk in half a suit (below the waist, it’s all athletic wardrobe) and shouts successfully, “The Doctor is in!” just before the hoop doubles over and collapses onto him violently. An ambulance whisks him away, leaving the office in another state of limbo and opening the door for another possible replacement.

Sadly, we are in the twilight of Will Ferrell’s arc on the show. Short-lived, but wholly memorable. It’s really a shame that he’s one of the biggest comedy movie stars in the world because he would be a great fit for the show. No doubt, his energy would be better spent donning once again his Ron Burgundy leisure suit, but Paramount are a bunch of bottom-line obsessed dick heads, so let’s just put that to bed (Tangent averted! Success!). In any event, D’angelo is quickly losing his shit, so it’s not so much wondering if he’s leaving, but how they’ll be hitting that jettison button. With only two episodes left in the season and a jam-packed guest starring lineup, that ousting is going to be anyone’s guess, but it’s probably going to be great.

Season 7, Episode 22: “The Inner Circle” (originally aired May 5, 2011)

Find out what becomes of D’Angelo Vickers and the Office-ites Thursdays at 9/8c on NBC

Images courtesy of IMDbPro and Chris Haston for NBCUniversal

D’angelo Vickers’ (Will Ferrell) integration into Dunder Mifflin continues this week with “Michael’s Last Dundies,” which executes what The Office does the very best- marrying comedy and sentimentality without being ridiculous about it.

In true awards fashion, Michael and D’angelo are up at the butt-crack of dawn (6am to be exact) to surprise the nominees of the 2011 Dundies at their respective doorsteps, which is basically the entire office staff. Michael’s OCD is on overdrive since this is his last Dundies and he wants everything to go perfect, but converting D’angelo is proving to be the bigger challenge; he’s unsure of whether the tradition is something he wants to keep around, especially after Michael announces him as co-host for the event, putting Dwight (Rainn Wilson) further into a corner. Michael tries to appease D’angelo, saying, “the Dundies are like the Golden Globes, but less mean,” but D’angelo suffers from a crippling wave of stage fright he needs help to overcome. Michael tries to lend a hand, or an ass, by sitting on a prone D’angelo and putting him through a round of vocal exercises. Amazingly enough, no one seems to notice or care, which is one of the subtle, funniest aspects of the scene. That is, until Michael puts headphones on D’angelo and turns an ancient early-90s Walkman on full-blast in an effort to distract him while he reads cue cards- sorry – SCREAMS cue cards.

Over lunch, Jim and Pam run into Erin (Ellie Kemper) sitting in her car and she frantically asks them to quickly get in. She confesses that she is unhappy with Gabe and hiding in her car is the only time away from him that he has and doesn’t know what to do. “I can’t just dump him. I’m not like you, Pam- I can’t be mean.” Despite the backhanded compliment, Pam tells her to be firm and break up with him.

That evening, the Dundies gets underway, starting off strong with a completely hilarious video intro which finds D’angelo on the hunt for Michael so he can host the show. Along the way, he runs into office workers, all portrayed by Michael in costume. The Angela and Phyllis impersonations are great, but the Jim scene is the most off-base and funniest. Ferrell also reminds us how awesome he is at acting badly, which really is an art unto itself.  Trouble looms when Michael and D’angelo take the stage, only to have D’angelo run off in a panic, headed straight for the bathroom. Michael chases after him and gives him a pep talk, complete with face slaps. It’s hard to tell what convinces D’angelo, the talk or the slapping, but he and Michael quickly return to the stage. Notable awards include “Most Promising Assistant Manager” going to Dwight, which he dedicates to a garbage can and promptly disposes of into said can; the “Diabetes Award” to Stanley; the “Cutest Red Head in the Office” award to Erin, where she uses her speech time to publicly break up with Gabe, “I just…I cringe whenever we talk…” , making for both the best and worst speech of the night. Michael even gives the “Best Dundies Host” award to D’angelo, who once again panics during his acceptance speech and turns to the aid of his Walkman, announcing full-bore, “THIS IS SUCH A SURPRISE. I WAS IN THE BATHROOM JUST VOMITING AND VOMITING,” at which point, the restaurant quickly shuts the show down.

Despite the setback, the team convinces Michael to finish out the show at the office, where in a night full of surprises, they give Michael the best surprise of them all- an impromptu (but secretly rehearsed) rendition of the Rent hallmark “Seasons of Love”, tailor-lyriced to Michael’s robust and storied career at the Scranton branch; “9 million 986 thousand minutes/that’s how many minutes that you’ve worked here.” Each person adds their own personal lyric to the song and it is quickly realized the effect that Michael has had on everyone, and more importantly, the effect everyone has had on Michael, good and bad. But mostly good. It’s an incredibly sweet, totally balanced moment- an “aw, shucks” realization that Steve Carell really is leaving for good and this isn’t just a Sweeps stunt. No doubt, the talent on the show are going to miss him as much as their characters and vice-versa.

Summing up the episode, in the eloquent words of Michael Scott, “Well, this is gonna hurt like a Motherfucker.”

Season 7, Episode 20: “Michael’s Last Dundies” (originally aired April 21, 2011)

Don’t miss Steve Carell’s last episode this Thursday, April 28 at 9/8c on NBC.

Images courtesy of NBC and IMDbPro

“Training Day” marks a changing of the guard for The Office, not to mention Steve Carell’s swan song for the series. But Greg Daniels is not sending Carell out on a rail though and is instead finishing season seven in the strongest way possible: Will Ferrell.

After Michael’s announcement that he will be leaving Dunder Mifflin, the company has finally found an adequate replacement in D’angelo Vickers (Will Ferrell) and the two plan to meet at the bar inside D’angelo’s hotel. In classic Michael Scott fashion, the two strike up a conversation without even knowing who one another is. Michael finally decides to give D’angelo a call to check in and when his phone rings, he steps away to answer the call. The scene becomes meta when they begin having another conversation on the phone, right next to each other, in the same bar without either of them being the wiser. The two eventually catch up with real-time and the ball officially gets rolling.

The next day finds D’angelo getting up to speed with the ins and outs of the Scranton office by shadowing Michael and getting to know the team; Andy becomes the “funny guy,” Dwight feels outcast by getting stepped over for the management position, and Kelly sets up a convenient “meet-cute” by bumping into D’angelo with an armful of files. The rest of the day is spent by the team in an all-out suck-up fest, each of them trying to put their best foot forward with D’angelo (“We only have one kid, but she poops for four!”, “The southwest? That’s my favorite region!”, “My boyfriend is a senator!”) All of this puts a bad taste in Michael’s mouth as he watches longingly from a distance as everyone seems to transition away from him much smoother than he could have possibly imagined. It’s as if they didn’t ever need him to begin with. He tries to interrupt the love fest with a classically weak, “You decide to have an orgy without me? I call middle!” but does little to turn the tide.

The two butt heads again when they passive-aggressively argue over how Erin should answer the phone (“Dunder Mifflin, this is Erin” versus “Dunder Mifflin, how may I help you?”) causing her to completely shut down, and the conflict accelerates further when D’angelo brings in the best reviewed barber on Yelp to shave him in the office and Michael buys a small can of Barbisol, getting Erin to shave him in an insane, hilarious one-upmanship competition. Meanwhile, Andy has woefully become D’angelo’s dancing monkey and every time he asks him, “Make me laugh,” Andy’s attempts at humor get more and more desperate, the peak of which finds him flailing about with cheese puffs and eating dish soap at the oafish request of D’angelo.

During all this, Dwight continues his secret coup but inadvertently discovers that Michael never referred him for the management position, which will no doubt come back to haunt Michael sooner rather than later. It all comes to a head when Michael starts passing out a mid-afternoon snack of PB&J sandwiches, despite D’angelo’s peanut allergy. “There are nut particles circulating all around this office!” D’angelo screams as Michael tosses the sandwiches freely about the room. D’angelo calls an emergency meeting in the conference room to get away from the nuts, but Michael tries to convince the office to not join. They do, of course, and Michael gives up, but not before D’angelo runs out and asks him for some pointers, which turns into a dopey heart-to-heart ending with the two hugging in what can only be described as “standing reverse-cowgirl”.  “Why did you have to be so good?” Michael laments as the homo-erotic euphemisms fly fast and furious.

Will Ferrell’s addition to the final episodes of this season is a real shot in the arm for the series. And even though his time is limited, or it at least appears that way, time with Will Ferrell is always time well spent.

Season 7, Episode 19: “Training Day” (originally aired April 14, 2011)

Don’t miss Steve Carell’s last days at The Office, Thursdays at 9/8c on NBC

Images courtesy of NBC and IMDbPro

Discovery: Brad= Will Ferrell doing George Bush.

This week on The Bachelor, we all got more stupider.

Vocab word of the season: Constitute. Wow, Brad! Those word-a-day calendars must really be working. Let’s get started because my brain is molding:

Alli: I am actually going to give Brad credit where credit is due based on how he dealt with Alli. I won’t begin with how dumb it is to keep a girl around this long without a one-on-one date (not sure if this is Brad’s fault or the producers’), but I will mention how cruel it is to take someone in a jungle cave when she is deathly afraid of bugs (definitely the producers’ fault).  I know Britt, aka Dik Dik, has never had a one-on-one either, but at least she has made out with Brad? And, has had a conversation with Brad. I personally thought Alli’s date was pretty cool at first (although I don’t understand the running theme of trying to scare the shit out of these girls on every date), and then I thought it was incredibly awkward.

Blame it on editing or blame it on Simple Brad, but that small talk was painful. “I live in Austin.” “I hate big cities, I think people who live in them are stupid.” Maybe I’m paraphrasing, but that is basically what happened. Then Alli professed to Brad that she is sooooo comfortable with him and really likes him, to which Brad responded that a good friendship does not constitute a love connection. I thought he was very diplomatic and he gained points in my book. But really, who didn’t see this coming? Well, maybe Alli.

Group Date: I am so over group dates. I know you hear me, Dik Dik. On this stupid group date, the stupid group repelled down a stupid waterfall and then jumped in a stupid hot spring. Michelle was a baby because Brad made a pact that he would never repel with anyone but her, and Emily told him that she sabotages every relationship she is in. Since all the girls were whiny weirdos, Brad decided with all his heart that he simply couldn’t give out a rose that night. Hearts were broken. Wah wah.

Chantal: Oh, Chantal. Chantal got another one-on-one date, which really doesn’t seem fair since Dik Dik and Alli have never had one, but whatever. By the way, I am going totally out of order on this episode. Apologies. Anywho, Chantal went on a date with Brad. I can’t even remember what they did it was so insignificant, but I do know that it involved a helicopter and another rainy picnic situation that turned into Chantal putting Brad’s shirt on as a Carrie Bradshaw style dress, and made all the women hate her when she got home. Oh, they went zip lining! Hazzah! Yeah, Brad said that he needed to do something fun with Chantal, since she got so dramatic last week. Although, in her defense, I bet she doesn’t remember most of it. I can’t tell if Brad is too simple or too d-baggy to see that human emotions aren’t always the same thing as drama. Maybe he was talking about how Chantal keeps threatening to go home if he isn’t sure that he is going to keep her around until the end. He has to listen to his heart, Channy!

In more stupid news: Michelle.

If Chantal is what Brad is looking for in a woman, then Michelle says that she definitely isn’t. Both of these women are bringing their own brand of crazy to the table. This week in a role reversal, when Chantal looked like Pebbles at the cocktail party (literally what she looked like, but in yellow), she dropped the L bomb. METHINKS THIS IS A LITTLE EARLY. Even though Brad is talking about his heart nonstop, this is a little nutters.

Oh right, Michelle. She went to his room to be more of a weirdo stalker after the unsuccessful group date,  and talked smack about all the other girls, only to later claim that Brad basically made her do that. Run, Brad. Run.

The others: Shawntel, Ashley.. .who else is even left? Dik Dik! Jackie didn’t get a rose, but I don’t think anyone cared. Is seems like she didn’t even have that one-on-one with Brad a couple weeks ago. However, I was very surprised to see that she was actually 27 this whole time. At least the producers are bringing the age postings back to the descriptions of the girls. The one thoughtful thing they have done all season.

I don’t know about this episode. Brad seems to already be in love with Emily, and is sold on Michelle’s crazy. Next week, Emily makes it seem like she wouldn’t introduce Brad to little Ricky. THINGS ARE GETTING REAL, PEOPLE. Also next week, for another emotionally scarring date, the producers make the girls do a swim suit photo shoot with Brad? Yeah. No sense.

But, does anyone else think that a crying, irrational Chantal looks like Marion Cotillard? A girl can dream.

Season 15, Episode 6: (originally aired February 7, 2011)

Are you in love with manipulated romance? Check out The Bachelor Mondays at 8/7c on ABC.

For another take on this episode, check out Lauren Tyree’s review here.

Images courtesy of Rick Rowell for ABC and IMDbPro

In the modern Netflix queue genre of “irreverent computer-animated hero comedy”, DreamWorks Animation has carved a Galactus-sized niche for themselves with repeated critical and financial home runs. Megamind is the studio’s latest submission to the oeuvre and with one of their biggest sluggers at the helm, Tom McGrath of the billion-dollar Madagascar franchise, DreamWorks has again worked their winning formula to near perfection. Visually stunning, incredibly detailed animation? Check. Self-absorbed, glittering, Johnny Bravo-shaped superhero? Check. Megalomaniacal, bumbling, Steve Jobs/Wile E. Coyote hybrid supervillian? Check. Breezy, familiar narrative that resonates with all ages? Check. A veritable Super Friends cadre of celebrity voice talent? Quintuple-check. While ticking all of the genre boxes so effortlessly could easily translate into a prosaic stroll through an animated backdrop, Megamind manages to avoid this pitfall through charismatic performances, efficient pacing, and enough slight twists, chuckles and cultural references to stay compelling over the entire 96 minute running time.

The story by Alan J. Schoolcraft and Brent Simons recounts the comically inadvertent rise of the titular main character, Megamind, from bumbling super-nuisance to accidental hero. Like many films in this genre, light-hearted winks and nods to other superhero movies can be found everywhere, particularly in the opening flashback when we are first introduced to Megamind (voiced brilliantly by Will Ferrell), and his eventual nemesis Metro Man (Brad Pitt) as infants both hurtling towards Earth after being jettisoned from an alien planet beset by certain, unarticulated doom. Sound familiar? When we next see the boys as adolescents, their vastly differing social circumstances play out in schoolhouse politics as the shy, bulbous-headed, super-genius teen Megamind, repeatedly fails to outshine teen Metro Man, now a super-powered, preppy peacock from John Hughes central casting. As time progresses, embittered by an inability to parlay his supreme intellect into the level of adoration enjoyed by Metro Man who grows into a beloved superhero, Megamind instead commits his brainpower to achieving the height of infamy as a supervillian, a role he inhabits with all the zeal, histrionics…and pyrotechnics of a professional wrestling heel. Naturally, Megamind and Metro Man are locked in an eternal paint-by-numbers struggle, typically commencing with Megamind kidnapping Metro Man’s favorite trap-fodder, investigative reporter Roxanne Ritchi (Tina Fey), and concluding with Megamind’s elaborate trap-du-jour in ruins and Metro Man carting him off to jail. The pattern is so routine in fact, that when one of Megamind’s schemes seemingly succeeds in finally ridding the city of Metro Man, Megamind’s genuine confusion and amazement is palpable.

Megamind’s confusion yields to euphoria, which eventually yields to boredom and depression at the realization that the adversarial tete-a-tete he shared with Metro Man is what gave his life purpose. There is something mildly amusing…and mildly masochistic about Megamind reminiscing over his daily pummeling, but I’m sure that will fly over the heads of this film’s intended audience. Equally amusing, and perhaps humanizing, is the fact that Megamind first attempts to fill the Metro Man-sized hole in his heart with a woman, Roxanne Ritchi specifically, wooing her in a humorously deceptive manner that appalls even his dedicated minion, the aptly-named, Minion (voiced by the excellent David Cross). When his deception begins to unravel, Megamind creates a Metro Man-like superhero named Titan (Jonah Hill) for his own amusement and to help everyone relive the good old days of witty super-banter and weekly super-throwdowns. Predictably, this proceeds disastrously as well, and Megamind is forced to become the one thing he loathes the most in order to prevent the complete destruction of his lifelong home Metro City.

Before the first line of dialogue is spoken in this film, you can see that you are in for a treat. The animation in this film is superb, and the level of detail is absolutely staggering. It is so detailed, in fact, that the realism of the opening scene sunset shown over a body of water made me question momentarily if I stumbled into the wrong theatre. The bright colors and rounded character elements that typically characterize animated children’s movies are present, of course, backed by an impressive supporting cast of faithfully reproduced reflections, shadows, buildings and urban decay that rival City of Heroes for punctiliousness. Sharp attention to detail is clearly a recurring theme in this film’s production values, and it extends to the character models and the script as well. Most computer animators discovered long ago that the eyes are the centers of expression (study up, Robert Zemeckis), and the incredible range of subtle emotion these characters are able to produce through their eyes and facial expressions really goes a long way to keeping you enthralled. Through the convincing performances and settings, the director and writers are able to create an environment in which almost all of your questions are answered visually on-screen; a feat rarely seen in animation or live-action films. How did he slice that bus in half? Take a gander at the huge saw on his wrist. How can that guy fly all of a sudden? Check out the small jet pack strapped to his back. How does he know where he left his car if it is invisible? He doesn’t. As an animated superhero feature, the film is obviously not without its flights of fancy (did the death of Gwen Stacy pop into anyone else’s head as Roxanne Ritchi is being slung about by Tighten? Anyone?), nor should it be. By virtually eliminating the need for exposition, however, these touches gave the film a realistic feel and helped it maintain a fun, efficient pace that never felt forced or bogged down.

Keeping things light and fun is important in a film whose central premise revolves around the ostracism and paradoxical retreat from accepted mores in order to gain acceptance of the main character, and Megamind lithely dances across these heavier social themes while achieving its laughs. There are several teaching moments in the film, such as when Megamind finally realizes that his actions make him a villain, not his upbringing, or when Titan realizes that money and power do not automatically equal love, put the film is never preachy or idyllic. Depending on your post-racial orientation and level of cynicism, you may find it interesting to note that throughout the film, McGrath and the writers seemed to have consciously steered clear of any indications that Megamind is disliked solely because of his odd physical appearance. Rather, he is always shown orchestrating some grand catastrophe, be it accidental, or deliberate that causes people to recoil. In other words, the film makes it pretty clear that Megamind is socially-inept first and a blue-skinned alien second; sort of like a Daffy Duck to Metro Man’s Bugs Bunny. The film also plays with the concept of celebrity vs. infamy and the role the press plays in the sustaining of both, as well as the classic yin and yang of good balancing evil, or as I like to call it, “if I’m bad all by myself, does anybody hear it?”

Overall, I thoroughly enjoyed this film. While it did not have me rolling in the aisles with laughter, the product as a whole made me smile and chuckle through the entirety of the film. I usually am indifferent to big-name voice talent as a simple theatre-filling gimmick, but the cast that DreamWorks put together for this film definitely lent their individual personalities to the characters, and I can honestly say that it made me enjoy it that much more knowing who was behind the microphone. After two weekends at the top of the box office returns, it is clear that DreamWorks’ homerun formula has a lot of juice left in it, and hopefully Megamind can look forward to that most important of all superhero movie elements: the sequel.

We’ve spent all our lives hearing about the superheroes; improbable men with extraordinary talent called to save the world in impossible situations. But what about the other guys, the ordinary guys who go face-to-face with the impossible. This weekend, The Other Guys are brought to the forefront with a comedic film that has both substance and heart.

The Other Guys stars Mark Wahlberg and Will Ferrell as the comedic odd couple. Mark Wahlberg plays Detective Terry Hoitz, a macho tough guy and a good cop until he makes the monumental mistake of shooting Derek Jeter. So, in response to this boneheaded move Hoitz finds himself pushing paper patrol with new partner Detective Allen Gamble. Gamble is the complete opposite of Hoitz; he’s a happy go lucky accountant who couldn’t be less interested in working the field. This doesn’t sit well with Hoitz who is eager to prove himself out in the field once again. But then a simple case of paperwork takes our pair out of their comfort zone and deep into a world of corporate fraud, intrigue, and murder. Hoitz gets what he wants but how will these two fair up against the odds which quickly grow out of their favor.

Ferrell and Walberg have an easy spirit. Will Ferrell is crazy in a way that only Will Ferrell can be. Mark Walberg is brilliant as a guy just a screwed up as everyone else, but unwilling to see it. Eva Mendes is good as Gamble’s hot wife, Damon Wayans Jr. and Rob Riggle rock as wannabe superstars. Michael Keaton stars as the police cheif who moonlights at Bed, Bath, and Beyond. Ice-T serves as narrator and Derek Jeter stars as himself when taking a shot. This movie also includes Dwayne Johnson and Samuel L. Jackson as superstar cops Danson and Highsmith (respectively), whose reckless and destructive hi-jinks are as spectacular as their actual busts are not. These two are over the top and spectacular in this role. They think they’re superheroes and they made me believe it too.

I particularly liked the parallels of the Superstar vs Other Guy storyline. It may be a bit shocking and hard to swallow but it’s true to reality. And in this instance, I have to give The Other Guys a gold star. The whole, ‘it’s the guys that you don’t see flashed all over the television that are saving the world’ is a true and uplifting thought.  Sure, we get trapped in the whole superstardom thing, but it’s the real guys, the firefighters, the soldiers, the cops, who are saving the world. I particularly liked the fact that everything was against these two and still they struggled on.

I love the message of this film, and there were strong performances by all the actors. That being said, there is one small matter of contention. The Other Guys was funny, sure. There were plenty of chuckles though no moments of comedic genius that would really set this film apart from anything else I’ve ever seen. And that is my only complaint with this film: it’s good, but not great; funny, though not hilarious. It’s by no means mediocre but there is no single brilliant point on which to cling. It’s all too easily forgettable, which is dissatisfying to say the least. Maybe I am asking for too much, this film is exactly what it’s meant to be, a good-time buddy film with both action and laughs. This just doesn’t seem to be enough when almost an hour later I’m wondering what I did with the last two hours of my life. It’s a good movie, you’ll probably enjoy yourself in the theater, but just like take-out an hour later you’ll be reaching for something more fulfilling. And yes I do feel guilty in saying that.

Photo by Macall Polay – © 2010 Columbia TriStar Marketing Group

ANCHORMAN: THE LEGEND OF RON BURGUNDY: While we wait for that much talked about sequel – you stay classy, Internet! (8pm/ABC)

Sherlock Holmes is one of the most beloved literary figures in history. He’s smart, savvy, and he does whatever it takes to win the day. Robert Downey Jr‘s Holmes is real, gritty, and more raw than any other I can remember. It’s fabulous. This movie will be a crowd pleaser in more ways than one, but one of my favorite parts is the way the script stays true to the heart and soul of the classic character of Sherlock Holmes. At the outset, as well as several times throughout, the audience glimpses his thought processes and the way he analyzes every situation before taking action. He takes the time to explain how he comes to certain conclusions after he apprehends the bad guys, and just as with the books, it boggles the mind how every little piece fits together. Some might suggest that the film’s creators have gone a bit too far, nearly turning Holmes into some sort of super hero instead of the introspective sleuth of old, but the update resonates with me.

If the character of Holmes is the first positive of my experience, then the chemistry between the characters is next on my list of great things about this film. Jude Law is perhaps the last person I would have suggested to play Dr. Watson. Well, maybe not the last. That might have been Will Ferrell or Josh Hartnett. At any rate, I would have missed the boat because Jude Law’s portrayal is not only spot on but he brings more to the table than Dr. Watson has any right to. In addition, the chemistry between he and Robert Downey Jr. (Holmes) is fantastic. They strike a perfect balance of humor and affection that is endearing and true to the relationship as it was written. Rachel McAdams plays Irene Adler, and to be honest, she’s never let me down yet (conveniently forgetting Red Eye). Her relationship with Holmes is full of romantic tension and professional competition, both of which are done to perfection.

There are several scenes that get a bit too Spiderman-ish for me. There’s an awful lot of slow motion fighting, face-offs that take place high above the ground, and other such outlandish feats for a believable Holmes storyline. I don’t mind the character of Sherlock Holmes being seen as a kind of superhero, but the setting is another thing all together. Holmes lives and breathes in 19th century England and for his character to work properly he needs to remain there. The actual plot is my least favorite part of the film, but for me, it’s also the least important. I wouldn’t spoil it for you anyway, but to be honest the story’s not what makes you want to keep watching. I never understood what went on in any depth, never cared for the random potential victims or feared the bad guy. All that matters is that Holmes figures it out and then explains it to us. Beyond that, the movie is really about the relationship between Watson and Holmes, with a little romance tossed into the mix by McAdams. There’s enough humor to keep you laughing, enough mystery to keep you guessing, and enough chemistry for additional films. Which, based on the thinly veiled reference at the end, are all ready being planned.

The film is a must see at the theatre, as far as I’m concerned. As far as kids go, I would take the PG-13 rating literally because of some graphic and violent death scenarios.

For Additional Poptimal reviews of Sherlock Holmes check out Sherlock Holmes: Jolly Good Show, Chaps by Paul Secrest.

If you out there grumbling that EVERYONE has all ready seen all these movies, I think you will be surprised to know you are wrong. I’m constantly astonished that these films, which I consider staples of the holiday season, are missing from people’s homes, memories, and experiences.

A Christmas Story

I’m going to give it one last go and attempt to talk some folks into branching out their holiday movie viewing. If my suggestions stink, at least you know TBS will be running A Christmas Story for twenty-four hours straight in a few days. I’m a warm fuzzy kind of gal when it comes to Christmas films, as you are about to find out.

10 – Home Alone (1990)  I have to say, I debated on this one. It almost didn’t make it. Then I remembered the old man and the lessons learned by both young Kevin and his parents during his ordeal, softening my heart toward Macaulay Culkin just a smidge. In addition, it’s a movie that can be watched with children for both entertainment value and a message. I recall my mother not caring for it because it was an unbelievable premise, but several holiday films fall into that category, and its not a reason to banish this one. Solid family viewing.

9 – Holiday Inn (1942) Some might call it old, I call it classic. Be prepared, because the classic Christmas movies do it best and there will be plenty more on my list. This one belongs here because, A. It has Fred Astaire. B. It has Bing Crosby. C. It was the first time the song White Christmas was ever performed. See it. Yes, it’s in black and white. I promise that doesn’t mean it stinks. Good for any age, might have trouble holding the attention of the wee ones.

The Polar Express

8 – The Polar Express (2004) In my opinion, this is one of the more moving experiences in holiday movies in recent memory. It gets back to what we love about the more traditional movies, a heartfelt message about what can be accomplished when we let ourselves believe in something outside our realm of understanding. A young boy who has trouble believing in fanciful things like Christmas and Santa, boards the Polar Express for a trip to the North Pole. Your kids (and you) will be impressed by the animation and wooed by the story.

7 – A Christmas Carol (various versions) Countless versions of this old tale have been woven for us over the decades. Most recently, of course, Jim Carrey took on the role of Mr. Scrooge. The Muppets have given it a go. Scrooged, with Bill Murray, is worth a mention in this category. It’s a different take and funnier than most, not for kids though. The basic plot is a timeless one, with a crotchety old Christmas hater being given the chance to look at his life through the eyes of others. It never fails to touch me at the end when he realizes the true meaning and spirit of Christmas. Most versions, especially the Muppet one, are kid friendly.

Elf

6 – Elf (2003) You have no idea how hard it is for me to include this film on my list. Typically, there are about a million things I’d rather do than watch a Will Ferrell movie. I forgive the casting director for this film because its sweet message is not completely obscured by Ferrell’s ridiculous over acting. His character is endearing as he searches for his father and his place in the world. His enthusiasm for Christmas spreads to those around him, infecting previously grumpy folks with appropriate amounts of cheer. Another one for you and the kiddos and plenty of laughs plus good feelings.

5 – A Christmas Story (1983) Yes, it made my top five. I know most of you probably would have ranked it higher. I’ve seen several lists that rank it as the number one Christmas movie of all time. I’m not sure if I’ve been negatively affected by the twenty-four hour running of it on TBS the past few years or if the humor wears off after the first fifty viewings, but I can’t imagine wanting to sit and watch the whole thing anytime soon. It is funny, it depicts the era in which my parents grew up in an amazingly realistic light, and every family can identify with some aspect of the story. It’s missing a message, though, and it doesn’t give me that warm fuzzy. Still, solid Christmas fun.

4 – White Christmas (1954) This film, starring Bing Crosby and Danny Kaye, grew out of Holiday Inn. It features fabulous singing and a warming story about two army buddies who go out of their way to save the failing business of their old commanding officer. There is also love, intrigue, and plenty of laughs. If you enjoy music, singing, knock-your-socks off performances, and a sweet and sturdy story, this one can’t be missed. In fact, if you haven’t seen this film, I’m glaring at you right now. Get to it.

Miracle on 34th Street

3 – Miracle on 34^th Street (1937, remade 1994) The first thing I want to say is see the original. The second one creeps me out a little bit. With a theme reminiscent of Polar Express, the young and street savvy girl in this movie doesn’t believe in Santa Clause. Her mother works at Macy’s and she begins to interact with a man who believes he actually is Saint Nick. Through a series of events the little girl opens her heart to the man, giving in and believing in him, in Santa, for the first time in her life. There is also a parallel story arc with her mother, a grown version of the cynical girl, who manages to finally loosen up long enough to fall in love. Touching and adorable, this one can’t be missed if you’re looking for a movie to leave you feeling better about people.

2 – Christmas Vacation (1989) I love this movie. If you can watch this and not laugh at least a half a dozen times, you should have your funny bone checked. This is my family’s Christmas Day tradition, and listening to my dad and sister laughing out loud is part of what makes Christmas for me. Remembering my grandfather shaking his head and grinning from his chair brings happy memories of when my house was full of family who are now gone. Despite all the laughs, it is a genuinely touching story as Clark realizes that the tree, presents, dinners, and lights don’t make Christmas – his family does. Its something we can all use a reminder of every once in a while, and this film can give it to you while you are cracking up. A rare gem of a combination. Fine for older children. Innuendo and cursing may be too extreme for the little ones.

It’s a Wonderful Life

1 – It’s a Wonderful Life (1947) Not just my favorite Christmas movie, but my favorite movie of all time, it’s a must see any time of year. Watch it. Make your kids watch it. Talk about what it means, about why it’s important, and why we all need to learn the same lessons as George Bailey sometimes. I’m dumbfounded at how many people have told me they’ve never seen this movie. I didn’t even know that was possible, or legal. It should be illegal. George begins the movie as a man who believes that because he’s never left the town he was born in, never made a lot of money, or never accomplished anything he dreamed of as a child his life is worth nothing. When he stands to lose what little he does have, he considers killing himself. An angel visits him (with some great bits of comedy) and gives him the chance to see what the town, his family, and friends would be like if he’d never been born. He realizes that even though he hasn’t made money or done any great act, all of the acts of kindness, of friendship, and being a decent human being have had great impact on both those he knows and those he doesn’t. That being rich or having influence doesn’t make you successful. I cannot count the number of times I’ve seen the film but I cry at the end every time. The message is one that everyone could use, at least once a year.

I would love to hear opinions on what your favorite holiday films are, and whether or not you think I left out something glaringly obvious. Merry Christmas, Happy Holidays, and a Happy New Year.

ELF: Merry Christmas! Before you start heading to the mall tomorrow to return those unwanted gifts, put your feet up and have a laugh with this new holiday classic. (8pm/USA)

I’ll be honest here: I’m a much bigger fan of the Michael Clayton, Three Kings, Ocean’s Eleven (but not the sequels), Syriana, Good Night, and Good Luck George Clooney than I am of the Oh Brother Where Art Thou?, Intolerable Cruelty, Burn After Reading, and now The Men Who Stare At Goats George Clooney. I like the suave but haunted, sarcastic but romantic George Clooney…not the isn’t-it-so-great-that-I’m-this-handsome-but-I-can-also-play-a-complete-moron George Clooney. His performance in Michael Clayton was nothing short of masterful, and that movie should have won the Oscar in 2007, not No Country For Old Men (and don’t even get me started on the hamtastic, impossibly pretentious slog that was There Will Be Blood). But I just can’t get behind the George Clooney as buffoon thing. I don’t buy it. I only enjoyed The Men Who Stare At Goats—a film that desperately wants to be Dr. Strangelove—slightly more than Batman & Robin. And being that I left the theater in tears after seeing that one (literally), that’s saying something.

Don’t get me wrong, the cast is tremendous. In addition to Clooney, there’s Ewan McGregor (who I liked more in this film than I have in his other films), Kevin Spacey, Stephen Lang, and Jeff Bridges. I love Jeff Bridges too! But he’s playing The Dude 2.0 from The Big Lebowski. The movie claims to be based on a true story, but for a comedy about people learning to focus their minds, The Men Who Stare At Goats comes off as oddly unfocused and meandering. It’s basically a few very funny scenes strung together in search of a narrative. It’s a movie I would watch clips of, but I would never watch the whole thing ever again.

If you haven’t seen the trailers (and if nothing else, the film has been well-marketed), the story concerns Ewan McGregor’s reporter Bob Wilton, who stumbles onto the story of a lifetime when he meets Clooney’s Lyn Cassady. Lyn claims he took part in an American army unit training psychic spies to develop a buch of “Parapsychological” skills including (but not limited to) walking through walls, “cloud bursting,” invisibility, “remote viewing,” and intuition. The unit was known as the First Earth Batallion, and it was started by Jeff Bridges’ (who else?)  Bill Django, a New Age stoner kind of guy who traveled across the country in the 1970s trying every New Age deal in the book. His two best students, as it were, were Cassady and Kevin Spacey’s dastardly Larry Hooper (never trust a guy named Larry…or Tony…or Buddy). But whereas Cassdy wanted to use the force for good (a true Jedi), Hooper went over to the Dark Side.

The film picks up with Bob and Lyn in the present day, beginning a new mission in Iraq (ooh, we’re culturally relevant!). But they are kidnapped and must contend with Hooper and his evil minions. The exact nature of all this is unimportant, because the film doesn’t really care about building a plot. That’s the fundamental problem: the movie is too comfortable, too certain that it’s quirky and offbeat and relevant. It is all of those things, but it lacks a point of view. Dr. Strangelove had a point of view that was enhanced by the unchecked absurdity of the plot, but Goats does not. It’s sporadically funny and the cast is talented, but they’re not really committed to hitting it out of the park. Everything just feels too comfortable, too pat, too safe. I really think Clooney is better off when he tries to be somewhat serious.

It’s not a terribly long film, and it is competently shot by a great DP, Robert Elswit (who I had the pleasure of meeting recently). I just felt that the talent involved was capable of more, even the director, longtime Clooney friend and business partner Grant Heslov, who makes his iffy directorial debut here. Though to be fair, it’s all a big cut above anything Will Ferrell or any of the typical comedy stars put out. Seriously though, if you want to watch a war comedy with cultural relevance starring George Clooney, pop in Three Kings.

I don’t watch very many new comedies these days, because most of what comes out appeals to me about as much as being castrated with a fork. My favorite comedies are movies like As Good As It Gets and Midnight Run and Tin Cup. I can’t stand Will Ferrell or anything that guy is in, don’t care for Paul Rudd or Jason Segel or Michael Cera or Seth Rogen or virtually any of the leading stars of the genre. I didn’t want to see Extract or Baby Mama or Land of the Lost or virtually any comedy that has come out in the last several years. Probably the last comedy I saw that I really liked was Hot Fuzz. I’m not a sourpuss, really, I love to laugh as much as anyone. I just can’t identify with the protagonists of most recent comedies, and I’m not one of those people who can pronounce things as “so stupid it’s funny.” To me, if something is stupid, it’s just stupid (and a waste of my time).

I haven’t watched very much of The Office or Entourage and I’m not a fan of 30 Rock. I do like Californication and Rescue Me though. My point in all this rambling is that I’m not a big comedy guy and I don’t see many these days. So if I say that I not only saw but liked a recent comedy, that’s really saying something. And I both saw and liked Ricky Gervais’ The Invention of Lying. It’s smart, creative, original, driven by a three-dimensional character and unlike a sketch has something to say.

Like I said, I never watched The Office (the British or the American version). I haven’t seen Extras either. My only exposure to Ricky Gervais was through Ghost Town, his last movie, which I saw on a recommendation from my cousin Sara. I liked that one too. The guy’s funny, he’s talented, and he’s been around awhile so he’s worth watching. The Invention of Lying is his best movie yet.

The movie launches from a simple but also subversive concept: in an alternate world where humans always speak with brutal honesty and haven’t evolved with the capacity to lie, what would happen if one man suddenly learned how? This man is Mark Bellison, played by Gervais of course, who also co-wrote and co-directed the film.

The comedy comes both from watching characters say whatever is on their mind, no matter how wicked or inappropriate or taboo (like Jim Carrey in Liar, Liar, which I did like) and from watching them suddenly believe whatever Bellison says, no matter how ridiculous the lie. We’ve all dreamed of telling our boss or neighbor or colleague exactly what we think of them, so the movie provides us with a cathartic wish-fulfillment vehicle. But the movie isn’t content with only giving us that for two hours; it has more tricks up its sleeve. What I find missing from a lot of modern comedies is heart, and Lying has it.

About halfway through the film, the farcical elements subside a little and make room for a thoughtful (and still funny) satire of religion, which I’m always more than up for. Keep in mind that in the film’s world, religion has never existed. The film implies that religion is a lie because it deals with unknown quantities and unproven prophecies and to speak of it requires faith in an abstract concept. It can’t exist without certainty. So with his ability to lie, Bellison is able to single-handedly concoct the notion of religion. He doesn’t do it knowingly, but instead as he attempts to comfort his dying mother. But by doing so, he becomes a prophet, whether he wants to be or not. From there, the movie explores themes of whether honesty is more noble (even if it hurts) because it is always true, or if lying for the betterment of others is more commendable. But it’s never heavy-handed or didactic, and the film isn’t mean-spirited either. I’m sure some fanatics will whine about it because it dares to examine religion critically, but the movie isn’t pushing an agenda. At least it didn’t feel that way to me.

There’s a solid supporting cast, with Jennifer Garner playing the object of Gervais’ affection. But it’s not a conventional romance, even though I’ve seen some reviews that complained that it was. Rob Lowe plays to his strengths, the oily jerky coworker. Tina Fey shows up briefly, make of that what you will. It’s not a perfect film and it feels a little uneven at times. But it’s genuinely funny and has a brain, two qualities I find very rare in modern comedies. It’s a throwback to when comedies used to be about something, when they used to be funny and have something to say, like in the works of Billy Wilder and Mel Brooks and Martin Brest and James L. Brooks. That’s something I find well worth celebrating.    

The always hilarious Dave Chappelle returns to television for the 200th episode of Inside the Actors Studio.  Tables are turned this time, however, as Chappelle interviews the theatrical and often imitated host, James Lipton.  Writer, actor, producer, French knight, and yes-admittedly even the French version of a pimp at one time-Lipton revisits his long, illustrious career in the arts with the help of the witty Chappelle.

The iconic Lipton sits on the well-known studio stage and, like all the actors before him, candidly discusses everything from the difficult relationship with his estranged beatnik poet father, his decision to become an actor instead of a lawyer, the rich, informative interviews of the actors who have graced his stage, and his latest book, Inside Inside.  Amidst Chappelle’s jokes about smoking pot and Lipton’s unique stage presence, the two manage to get serious during the two-hour interview, covering everything from the great teachers of Method Acting in New York, such as Stella Adler, who helped to catapult the careers of many famous actors, the birth of Inside the Actors Studio, and the demands that make acting such a rewarding but intense career.

Luckily for us, the interview is not all tears induced from painful memories and shop talk about serious acting.  Clips from Chris Rock asking Lipton what traumatic childhood memory he used to prepare for his Geico commercial and even the revelation that Lipton’s wife, Kedaki Turner, is the character, Miss Scarlet, on the Clue board game box cover help make the episode very entertaining.  Some mildly surprising moments include Lipton’s recollection about writing and acting for the soap opera Guiding Light and even being recruited by a New York homicide detective, Tom O’Malley, about eight years ago in order to teach interrogation techniques to homicide detectives.  Perhaps one of Lipton’s most triumphant moments was when he agreed to be the last guest on French host, Bernard Pivot’s, talk show.  Pivot’s questionnaire is what Lipton is now so well-known for using with his own guests and his famous Q&A sessions on Inside the Actors Studio have been the satirical topic of such comedians as Will Ferrell.

The episode ends with Chappelle asking Lipton the famous Pivot questions, along with a Q&A session with Lipton and his students.  Lipton candidly talks with his students about studying acting and how techniques such as Method Acting are processes that can be difficult and are not always easy.  In the words of Chappelle, “That shit [acting] is hard.”

But for a few lucky students enrolled at the Duke Ellington School of the Arts in Washington D.C., acting will get a little easier.  It was announced at the end of the show that Pace University will participate in an acting program with Dave Chappelle scholarship recipients who are attending the Duke Ellington School of the Arts.  Pace University is, of course, home to Inside the Actors Studio and Lipton’s alma mater, and the Duke Ellington School of the Arts is Chappelle’s alma mater.  In such a cutthroat industry, it is rewarding to know that creative talents such as Lipton and Chappelle are not only able to make it big, but that they never forget their roots.  Be sure to catch the inspiring and informative two-hour episode on Bravo.

Season 15, Episode 2: Dave Chappelle (originally aired November 10, 2008)

Bravo, check local listings

Photographs courtesy of Bravo

For more Special Coverage, click here.

At first, I admit, when I saw previews for “Step Brothers,” I found the premise to be pretty, well, stupid. Physical comedy, bathroom humor, narcissism – all the trademarks of Will Ferrell or Judd Apatow characters, wrapped up in a ridiculous story: Will Ferrell and John C. Reilly as middle-aged dudes who still live with their parents. After I saw the movie, though, it’s kind of inspired. All of the classic trials and tribulations that happen when two families merge are way funnier when the kids are beer-bellied forty-some-year-olds – and happen to be played by two of the funniest film actors of our time.

Mary Steenburgen plays a divorced reporter who falls head over heels for medical doctor and widower Richard Jenkins. In the heat of their passion, both confess that they have a middle-aged son, still living at home, confirming their match-made-in-heaven status. But things are rocky from the start – Brennan (Ferrell) and Dale (Reilly) find every reason to hate each other. With no jobs and a lot of free time, it’s easy to pull tons of destructive stunts, including defacing a drum set in a particular disgusting manner and destroying lots of property, ranging from a bed to a boat. Not only is there trouble at home, but there’s also trouble in the neighborhood. Brennan and Dale have never learned up to stand up for themselves in a fight, and there’s something absolutely hilarious about a pack of kids beating up the forty-something duo. Brenna’s older brother, Derek (played by Adam Scott). All of the problems caused by Brennan and Dale put a lot of stress on their parents’ new marriage. When they break up, what are two (adult) step-brothers to do?

I’d watch Ferrell and Reilly in just about anything, and this movie is a perfect example. Much of the movie’s humor consisted of genitalia or toilet jokes, but the actors make it (fairly) easy to stomach. Written by Ferrell and Adam McKay, the script is not their finest, but it’s not their worst, either. Kathryn Hahn (Anchorman) turns in another scene-stealing performance as Derek’s stifled, frustrated wife who falls for Dale. A cameo from slacker-comedy staple Seth Rogen also adds to the tiring shenanigans of Brennan and Dale. Overall, a fun flick with a hilarious concept, good execution, and decent pacing that’s sure to delight the frat pack and middle-aged sets alike.

Director: Adam McKay

Studio: Apatow Productions

Release Date:July 25, 2008

Genre: Comedy

Runtime: 95 Minutes

Eh, at least it’s better than Semi-Pro. When that’s the highest praise that a faithful Will Ferrell fan can offer to Step Brothers, a movie that reunites the talents that made Talladega Nights such a hilarious success, it cements the fact that 2008 will go down as an only relatively less tragic version of Will’s 2005 resume that scorned the world with the releases of Kicking and Screaming and ewitched. This movie sets the bar as low as it can go, and then proceeds to tunnel directly beneath that bar with its depressingly shallow stupidity. The concept of man-children in a state of arrested development has driven many of this generation’s most notable comedies (Clerks, Billy Madison, Napoleon Dynamite, The 40 Year Old Virgin, etc.), but never before has the state of being a narcissistic unemployed middle aged loser been quite so exalted. When their parents (Mary Steenburgen and Richard Jenkins) get hitched, their pathetic 40-ish sons Dale & Brennan (Ferrell & Reilly) spend a few minutes as rivals before bonding over their excessively trailer hyped love of velociraptors and John Stamos. They pout, they break stuff, they stagnate as human beings, they make an hour and a half feel like three. That’s essentially the entire plot. At least Dumb and Dumber had that suitcase of money going for it. And Director Adam McKay (Talladega, Anchorman), apparently drunk on the success of his previous features and the much beloved baby landlord sketch on funnyordie.com, especially seems to be phoning it in with one plainly staged scene after another. Finally, Ferrell and McKay’s screenplay bludgeons the audience with awkward amounts of swearing. I’m far from opposed to 4 letter words, I just believe that it takes a truly great screenplay like Clerks, Pulp Fiction, or South Park to make cuss rants anything other than crass and lazy.

Lest I start making Step Brothers out to be the next Biodome, know that there some funny moments– even some very funny moments. It takes an act of willpower to get over the depressing immaturity of the characters, but if you can’t chuckle at a graphic teabagging, then you’re just plain dead inside. And while the language does get tiresome, when Ferrell taps into his full comedic potential to deliver absurd lines like “I’m gonna fill a pillow case full of bars of soap and beat the s— out of you” in a threatening whisper, laughing is in order. Also be on the lookout for a hilariously unsettling use of Guns n’ Roses classic hit “Sweet Child o’ Mine” and what qualifies as possibly the shortest, weirdest sex scene in film history. If you’re a Will Ferrell die hard, there’ll be no shame in renting Step Brothers a few months down the road, but save your theatrical dollars for the many better options available this summer. And Will, Land of the Lost had better kick ass next summer, or you just might wind up dead to me.

Director: Adam McKay

Studio: Apatow Productions

Release Date:July 25, 2008

Genre: Comedy

Runtime: 95 Minutes