Have you ever wondered what happens to old, unfunny Vince Vaughn scripts? They become new unfunny Kevin Hart movies.
“The Wedding Ringer,” the story of a well-to-do but socially awkward guy (“Frozen’s” Josh Gad) who hires a professional best man (Hart) to fool his bride-to-be, is a decade-and-a-half old idea originally intended for “The Wedding Crasher” star.
That script was mercifully abandoned around the time of Y2K only to be resurrected, “Walking Dead” style in 2015 with a new star, but no new laughs.
Gad is Doug Harris. He’s a loner who never had any luck with women until he met Gretchen (“Big Bang Theory’s” Kaley Cuoco-Sweeting), a beautiful woman who loves his bank account as much as she loves him. They plan a big wedding, but as his parents are dead and he has no siblings, his side of the wedding party is nonexistent. With just a week before the big day he hires Jimmy Callahan (Hart) to pretend to be his best man and supply seven groomsmen.
“This is strictly a business relationship,” says Jimmy, “you’re not buying a best friend, you’re buying a best man.”
Of course, this is a bromance, so Doug is actually buying a best friend. As the odd couple careens toward learning the value of real friendship they have many adventures, including lighting Gretchen’s grandmother on fire and indulging in a little bestiality at an out-of-control bachelor party.
“The Wedding Ringer” is an R-rated comedy so lowbrow it makes Adam Sandler’s oeuvre look like Noel Coward. Gad, who became a star on Broadway in “The Book of Mormon” and a hero to kids as Olaf in “Frozen,” and Hart, who’s a gifted stand-up and comic actor, are better than this. In fact, everybody is better than this.
Gad pulls faces, does funny voices and falls through the furniture while Hart does double-speak and slapstick, but “The Wedding Ringer” is a Laugh Free Zone.
I know it’s meant to be a screwball comedy but in order for it to be truly funny as it works its way to the inevitable sentimental climax, it has to have at least one foot planted in reality. A dollop of real human behavior or a tangential link to some earthbound experience would have made these characters human, and relatable, and not simply cardboard cutouts with loud voices and bad judgment.
“The Wedding Ringer” leaves the jokes at the altar.
Synopsis: Anchorman 2: The Legend Continues opened this week bringing confident but thick news anchor Ron Burgundy (Will Ferrell) back to the big screen after a nine year absence. The first film made catchphrases like, “I love scotch. Scotchy, scotch, scotch,” and the names Brick Tamland (Steve Carell), Brian Fantana (Paul Rudd) and Champion “Champ” Kind (David Koechner) household words. In celebration of the return of the team from San Diego’s KVWN Channel 4 the Reel Guys have a look back at the career of funnyman Will Ferrell.
Richard: Mark, I think Will Ferrell is one of the bravest comedic actors working today; someone willing to do anything for a laugh. Trouble is, I often don’t laugh. Anchorman is laugh-out-loud funny. Ditto Elf and Old School, but sometimes I feel he has to rein the manic energy in, do half as much and maybe be twice as funny. Having said that, the Shark Week jokes in Step Brothers really make me giggle.
Mark: Richard, I share your ambivalence toward Ferrell. He’s not my go-to guy for funny. Still, he’s done some great work. My favourite Will Ferrell movies are two indie films he’s starred in: Stranger Than Fiction and Everything Must Go. They’re the equivalent of Jim Carrey’s work in The Truman Show and Eternal Sunshine of the Spotless Mind. Maybe not huge crowd pleasers, but they show the true breadth of his talent.
RC: I agree. I think Stranger Than Fiction is worth a rental. It’s touching and funny, which for me is Ferrell’s sweet spot. A Night at the Roxbury is a silly comedy but Ferrell’s wide-eyed performance is the kind of thing I like from him. Outrageous, yes, but underneath the silly is a real guy. Sometimes I can’t see the real guy underneath his characters and those are his movies that don’t work for me. Except Zoolander. As fashion guru Mugatu he’s so strange he dares you not to laugh at him.
MB: Yes, he’s sometimes better in a supporting role in which his over-the-top zaniness doesn’t sink the whole picture. Mugatu for sure, but also the mattress salesman in The Internship or Franz in The Producers. But generally, I find his man-child jock character wearying. Which is why, I think, Anchorman is such a successful movie. It’s a Will Ferrell movie for people who don’t care for Will Ferrell movies. Did you enjoy the sequel, Richard?
RC: I did. I think there is a lot of life left in Ron Burgundy. It’s funny in an outrageous way. It’s a bit too long, (and don’t bother sitting through to the post credit scene unless you find the sight of Steve Carell eating cookies hilarious) but the buffoonery level is high in a season where serious drama seems to be the ticket.
In the last couple of weeks I have seen Ferrell, in character, sit in on some local newscasts and he fit right in. As long as there is media, egomaniac announcers and local news, there will be a place for Ron Burgundy.
MB: Yes, but let’s not forget he’s supported by a stellar cast of comic actors: Paul Rudd, Jim Carrey, Steve Carell, Vince Vaughn, Kristen Wiig. Even if Ferrell isn’t your cup of tea, it’s hard to believe this movie won’t work.
Richard’s “Canada AM” interview with “Delivery Man” co-star Cobie Smulders.
“It’s a blown up version of something that happens in real life,” she says. “You had a relationship when you were younger and all of a sudden a woman contacts the father and, ‘Oh, by the way, you have a seven year old.’ Obviously there is room for comedy there but everyone wants him to step up and be the hero and watch him do that journey.”
“We were so lucky to have [original director] Ken Scott. He did it so well the first time that he was able to do it a second time and have those same sentiments in it and spoken in English.”
At one point in “Delivery Man,” a remake of the much-loved French film “Starbuck,” David Wozniak’s (Vince Vaughn) father (Andrzej Blumenfeld) says, “If you can live with his countless faults you’ll have some marvelous times.”
David is a sweet tempered, kind oaf who never seems to make the right decision. That’s a fault that has landed him $80,000 in debt, desperate for cash and, as if that wasn’t enough, he’s also the biological father of over 500 children. To say he brings some baggage with his good nature is an understatement along the lines of calling Miley Cyrus show-offy.
Vaughn subs in for French star Patrick Huard in this almost shot-for-shot remake of the original film. He’s a man-child who, “everyday finds new ways to push the limits of incompetence,” but learns commitment and responsibility after discovering that his sperm bank donations unwittingly made him the father of 533 children, 142 of whom have filed a class action lawsuit to learn their biological father’s real identity.
“Delivery Man” features a much more low key Vaughn than we’ve seen lately, and that’s a good thing. His slick motor mouth act got tired around the same time the housing bubble burst but with very few exceptions—Into the Wild being one of them—he’s been coasting through movies like “Fred Claus,” “Couple’s Retreat” and (worst of all) “The Watch.”
But he’s not a one trick pony and “Delivery Man” reminds us that there is more to him than verbal dexterity and sardonic wit.
He hands in a charming performance with all the rough edges buffed away in a movie that is unabashedly sweet—some might say corny—but there is no cynicism here and that is the movie’s main strength.
In a recent tweet-a-thon to promote Delivery Man Cobie Smulders teased that people should go see the film because Chris Pratt gets naked.
“He doesn’t get naked,” she says a week later, admitting to the fib.
“That was very overwhelming. I had never done that before. There were 9000 tweets and I didn’t know what to do. It was crazy. I was trying to write and my phone was (shaking).”
The Canadian-born How I Met Your Mother actress stars opposite Vince Vaughn in a remake of Starbuck, a popular French-Canadian film about a man who finds personal redemption when he learns he is the father of 533 children.
“I went into watching Starbuck and then reading this script, like, ‘533 kids… from a sperm donor! What’s this going to be?’
“It’s still super funny, but I found myself affected by the way he connected with the children. The way they connected as human beings. Going out and doing a good deed and having it affect somebody in a positive way. I’ve always believed when you do good, you get good in return. That’s when I feel my best and there are many aspects of that in this film.”
The sweet, uplifting message of Delivery Man struck a chord with Smulders who says she “related to it on a parental level. I’m a mom myself and I think it touched upon so many themes of family and of being a parent.”
The story has also resonated with audiences.
The original film was 2011’s most successful homegrown film in Quebec. Smulders thinks the appeal of this very specific story has to do with its universality.
“It’s a blown up version of something that happens in real life,” she says. “You had a relationship when you were younger and all of a sudden a woman contacts the father and, ‘Oh, by the way, you have a seven year old.’ Obviously there is room for comedy there but everyone wants him to step up and be the hero and watch him do that journey.”
“We were so lucky to have [original director] Ken Scott. He did it so well the first time that he was able to do it a second time and have those same sentiments in it and spoken in English.”
Now there’s even talk of a Bollywood remake.
“We should have done a Bollywood song and dance at the end of our movie,” Smulders laughs.
The success of movies like The Bells of St Mary’s and A Christmas Carol triggered an avalanche of Yuletide themed movies from producers eager to cash in on the spirit of the season. Every year a new one comes out and for every hit there are a Santa’s sack of stinkers like Jingle All the Way and Surviving Christmas. This year’s entry is Four Christmases, the story of two smarmy yuppies played by Vince Vaughn and Reese Witherspoon who lie to their families—“You can’t spell families without ‘lies,’” Vaughn says—to get out of spending quality time with their siblings and parents over the holidays. When they get caught in the lie they must spend four Christmases, one with each of their divorced parents.
Every year Brad (Vaughn) and Kate (Witherspoon) sidestep family obligations at Christmas with a series of well crafted lies. They usually tell the folks they have volunteered to do charity work in third world countries but instead take off for the sunny climes of Fiji or some other exotic vacation spot. When their flight gets cancelled and they end up on the news the jig is up—they’ve been busted and have to make the rounds visiting their families. There’s Brad’s crusty old father (Robert Duvall) and his Ultimate Fighter brothers (Jon Favreau and Tim McGraw), Kate’s mother (Mary Steenburgen) and nymphomaniac aunts and grandmother, Brad’s free-loving hippie mother (Sissy Spacek) and Kate’s sensitive but aloof father (Jon Voight). Of course by the end, despite their families foibles, they realize that there is nothing more important than family.
Four Christmases tries for the tricky balance between comedy and heart-warming and almost succeeds. In its first hour it mostly goes for laughs, using Vaughn’s fast-talking jive, slap stick and some outrageous characters to keep the needle on the laugh-o-meter clicking into the red. Sprinkled throughout the four family tour are some good moments and funny situations and some sequences that strain to find the joke which is pretty much on par with an average mainstream comedy not written by Seth Rogen.
Then in the last thirty minutes it’s as if someone flicked off the funny switch and the tone suddenly shifts into heart-warming and it’s here that the movie earns a big lump of coal. The edge of the past sixty-minutes evaporates and all of a sudden we’re watching a TV movie of the week about family values. Reese Witherspoon can pull this off. She’s likeable, emanating a warm fuzzy glow when she’s on-screen. Vaughn can’t. His inborn edginess works well in something like the R-rated Wedding Crashers but falls very flat in family fare; ditto his patented mile-a-minute patter. In fact, his two funniest scenes—both mush mouthed television appearances—work because he finally drops the smart-Alec rapping.
When the movie turns mushy you have to care about the characters in order to care about their love lives, and Vaughn’s lack of warmth works against him here. You’ll see the “family is everything” message coming a mile away; the trouble is by the time it hits you may not care.
Four Christmases isn’t a truly bad movie, just a really predictable one.
The success of the 1966 cartoon The Grinch Who Stole Christmas triggered an avalanche of Yuletide themed movies from producers eager to cash in on the spirit of the season. Every year a new one comes out and for every hit there are a Santa’s sack of stinkers like Jingle All the Way and Surviving Christmas.
A year ago a new teaser trailer appeared in theatres to whet people’s appetite for a movie called Fred Claus. It was a lighthearted, fun clip featuring Fred (Vince Vaughn) and his brother Santa (Paul Giamatti) playfully yukking it up for the camera. It was a funny, warm scene that helped drive memories of the odious Christmas with the Krumps from the section of my brain that catalogues Xmas movies.
The casting of these two unlikely actors playing brothers seemed inspired and the supporting cast included no fewer than four Oscar nominees or winners. It seemed like a winner. Unfortunately, like so many previous failed holiday themed movies Fred Claus is naughtier than nice. It’s as though The Grinch, not satisfied with stealing Christmas from Whoville, swooped down on this movie and stole all the humor.
Vaughn, playing the title role, reprises his usual fast talking character—he’s part charmer, part con man who dreams of opening his own business, an OTB Parlor. Trouble is, he’s $50,000 short of the start-up money, so to raise money he dons a Santa hat, creates a fake charity and hits the pavement, silver bell and donation bucket in hand. After a dust-up with some other sidewalk Santas he winds up in jail with only one option for bail—his brother.
Fred has been estranged from his sibling (he’s an independent Claus or perhaps even Claustrofobic) ever since Nick cut down his favorite pine to make the first-ever Christmas tree. Wouldn’t that make them hundreds of years old, you ask? Why yes, apparently when Nick was made a Saint his entire family was frozen in time—they never age. Since then Fred has been living under the shadow of his younger brother.
St. Nick not only antes up the bail, but agrees to loan Fred the $50,000 he needs to open the OTB if he comes to the North Pole and works for the cash. Of course Fred agrees, and during his trip to Santa’s home turf befriends a lovesick elf (suffering from low elf esteem no doubt), and throws the whole operation into chaos to the point where Christmas is almost cancelled. By the end of the movie, however, everyone has learned valuable lessons about the importance of family, co-operation and acceptance.
Fred Claus earns a big lump of coal in almost every department. I don’t know what happened between the time the teaser trailer hit the multiplex and the film was released, but all the charm captured in that one scene we saw a year ago—which isn’t in the movie by the way—has been sucked out of the final product. Even the film’s funniest scene, a Siblings Anonymous meeting with cameos by Frank Stallone, Roger Clinton and Stephen Baldwin is poorly paced and not as effective as it could be.
The problems start from the top down. Vaughn’s inborn edginess works well in something like the R-rated Wedding Crashers but falls very flat in family fare; ditto his patented mile-a-minute patter. Director David Dobkin uses Vaughn’s size—he’s 6′ 5″—to good effect, however, taking every opportunity to hang the actor’s long legs over the edge of the tiny elf beds, but apart from some of the physical comedy Vaughn seems to be on auto pilot.
Co-lead Giamatti, tries hard but doesn’t fare much better than Vaughn. Crammed into a Santa suit (with disturbingly swollen hands) he resembles an overstuffed Christmas goose. It’s a shame; Giamatti is a great actor capable of much, much more than this. I wonder if his acting teachers at Yale ever imagined him delivering the line, “Ho, ho ho! I’m not gonna listen to no!”
Fred Claus uses the worst kind of manipulative holiday motifs to try and force the audience to care about these cardboard characters. There’s the orphaned young boy searching for a family, the bad-boy looking for redemption and the grinchy businessman. These stereotypes are the staple of every Yuletide story from A Christmas Carol on up and can be effective, it’s just too bad they weren’t put to better use here. Fred Claus exactly the nightmare before Christmas, but if you spend your money on this one, yule be sorry.
“The Internship,” the story of two old guys who try to get jobs at Google, is the funniest infomercial I’ve ever seen. As a comedy movie it doesn’t rate that high, but as an advertisement for Google it’s a knee slapper.
I’ve seen product placement in movies before, but this is something else. By the time Rose Byrnes’ character says, “I believe what we do here makes people’s lives better,” I was ready to worship at the Church of the Sacred Search Engine.
We also learn that Google is ranked as the best place to work in America.
That’s all great, but I was hoping for more laughs with my infomercial.
This new buddy comedy pairs Owen Wilson and Vince Vaughn for the first time since 2005’s “Wedding Crashers.” They are Nick and Billy, two wild and crazy guys whose sales jobs are made obsolete in the technological age. Unable to get a foothold in the new media field they crash Google’s Mountain View, California headquarters and become “noogles” in hopes of landing gigs as interns, despite having no experience with computers. “We’re looking at some sort of mental Hunger Games against a bunch of genius kids for just a handful of jobs,” says Nick.
There are some laughs in “The Internship.” Unfortunately very few of them are generated by the over-the-title-stars, Vaughn and Wilson. The chemistry that made “Wedding Crashers” such a big hit eight years ago is still in place, but the material isn’t. They still banter a blue streak—one of the characters says, “you’re saying a lot of words that mean nothing,” and she hits it right on the head—but it feels tired and old, like many of the jokes.
The fish-out-of-water idea—two luddites at a tech mecca—should have been workable, but it often feels like laughing at grandpa because he can’t figure out how to work the remote. It’s a bit too easy.
Add to that Nick and Billy—or Nick, Nicky, Nickelodeon and Bill, Willie, Billiard as those crazy kids slangily call one another—being heroes for teaching the overachieving kids about life by getting them drunk and taking them to a strip club, and you have a “Revenge of the Nerds” with a dollop of “Jersey Shore” thrown in—and the two mix about as well as you might imagine.
The situations, while predictable and often stretched a bit thin, do allow several of the other cast members to shine. As Yoyo, the anxious overachiever Tobit Raphael earns a few laughs and as the nerdy NehaTiya Sircargets a couple of good lines in, as do others, but overall it isn’t a laugh riot.
“The Internship” overdoes it with the Googliness and easy sentiment, and underdoes it with the jokes. Perhaps next time the screenwriterscan Google some better gags.
Have you ever wondered what happens to old, unfunny Vince Vaughn scripts? They become new unfunny Kevin Hart movies.
