Will Ferrell - Articles - Zimbio

Blades of Glory (2007)

Sat, 16 Nov 2008 23:41:00 GMT

posted by klawedkillerkitten
Blades of Glory is the story of Chazz Michael Michaels (Ferrel) and Jimmy MacElroy (Heder), two rival ice skaters banned from competition after a podium brawl at an "Olympic" event. After Jimmy's stalker finds a loophole in the rulebook (yes, you read that right), the pair join forces to reclaim their rightful position at the top of the skating rankings. While it follows the predictable rise,

Movie Review - 'Step Brothers'

Thu, 25 Jul 2008 07:07:12 GMT

posted by bigpicture

Step Brothers

Starring Will Ferrell and John C. Reilly
Directed by Adam McKay
Rated R

Is a smart comedy better than a dumb comedy? There are great examples of both, and even Will Ferrell, the star of Step Brothers, shows up on both lists. Stranger Than Fiction is a smart comedy with a complex premise and an almost poetic ending. Talladega Nights is a dumb comedy in which Ferrell, at one point, learns to face his fear of getting behind the wheel again by driving through a neighborhood sitting inches away from a wild cougar.

Each approach has its merits, although dumb comedies almost always produce bigger laughs and higher ticket sales. There’s a reason people still buy Three Stooges memorabilia, after all: Because at the end of the day, most people just want to see a comedy that can make them laugh and help them forget the reasons they needed to laugh before they walked into the theater.

If that’s the only legitimate litmus, particularly for a comedy that makes no effort to be anything but a dumb comedy, then Step Brothers is a rousing success. Likely the most adolescent film since Happy Gilmore, Step Brothers is proudly and unwaveringly stupid, a 100-minute exercise in reckless, childish behavior that should never be condoned by 10-year-olds, let alone guys in their 40s.

Dr. Robert Doback (Richard Jenkins) meets Nancy Huff (Mary Steenburgen) at a conference and they instantly fall in love. After a whirlwind relationship and their wedding, Nancy and her son Brennan (Ferrell) move into the Doback home with Robert and his son Dale (John C. Reilly). Each step brother instantly hates the other, with Brennan at one point threatening to beat Dale with a pillowcase loaded with bars of soap while he sleeps. The “boys” get in fights against each other as well as a throng of neighborhood bullies, the oldest of which may be 11 or 12.

We realize what Brennan and Dale do not, namely, that they’re exactly alike. They both live with their parents, never had a real job, sleepwalk, and amble through life with very little misfortune because they’ve been coddled and encouraged every step of the way. Naturally, they soon become best friends.

Eventually, however, they have to grow up. Step Brothers can’t just exist by showing Ferrell and Reilly building poorly-constructed bunk beds and practicing karate on pumpkins in the garage. It tries, of course, and draws out these Baby Hueys as long as it can. But Ferrell and Adam McKay (who also directed and co-wrote Talladega Nights and Anchorman with his former Saturday Night Live colleague) throw a tiny wrinkle in at just the right time so that Dale and Brennan have to find jobs and stop embarrassing themselves and others with their immaturity.

The smartest thing in this movie is the casting of Mary Steenburgen and Richard Jenkins, who was so wonderful earlier this year in The Visitor. They’re anchors to all of this madness, far more sympathetic and relatable than Ferrell and Reilly. Without them, this would just be too far over the top.

Ferrell and Reilly, as we know by now, work well together. When they first paired up for Talladega Nights, it was an unlikely duo; Ferrell has always been a manchild in his broadest comedies, and Reilly was an Oscar nominee with a history of great, lonesome loser supporting roles. Their antics, surprisingly, don’t get old in Step Brothers, because both actors are so gleefully committed to them and perhaps because this movie is almost self-parody..

Don’t mistake this for Annie Hall. Don’t look for a lot of meaning. Or any meaning, really. Just watch Step Brothers and laugh. And mark another one down in the column of dumb comedies.

“Step Brothers” Will Ferrell and John C. Reilly: Movie Review

Fri, 2 Aug 2008 23:05:19 GMT

posted by mrslillianpucci

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Will Ferrell and John C. Reilly at the screening of “Step Brothers” at the AMC Loews Lincoln Center in New York City on July 21, 2008.

Watch Deleted “Show and Tell” Scene
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“Step Brothers” is laugh out loud funny! Hilariously, Will Ferell and John C. Reilly are believable! Caution: Raunchy. Not for prudes. Absolutely no kids! A not so classy movie recommendation. Tell our visitors what you think. Share a comment/review.

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Official Site http://www.sonypictures.com/movies/stepbrothers/

Semi-Pro

Mon, 10 Jun 2008 23:12:00 GMT

posted by FilmIntuitionJen
Director:
Kent Alterman

What they lack in free corndogs, the Flint Michigan Tropics make up for in ridiculous stunts whether it’s dancing in family friendly costumes when serving as their own halftime show entertainment or watching the death-defying antics of their player, owner, announcer and coach Jackie Moon (Will Ferrell) as he roller skates over several bikini clad ball-girls or wrestles a bear. Aside from forbidding homemade nachos at the game, Jackie seems to only have one rule when it comes to running his fictitious ABA 1976 ball club and that is “E.L.E.” or “Everybody Love Everybody.” It’s these words he’s tried to personally take to heart with his one-hit wonder “Love Me Sexy,” that he never fails to mention or play with zero to minimal prompting, especially when celebrating with his teammates and their comely groupies at his own private club, decked out like a stereotypical 70’s era pimp, sporting a wild Caucasian version of the Afro.

When Jackie learns that at the end of the season the ABA will merge with the NBA with only four teams absorbed before the rest dissolve, he ignores the rumors that it will most likely be the Nets, Spurs, Pacers and Nuggets and decides to fight for professional glory by trading in the team’s washing machine for Monix (Woody Harrelson), a once-great NBA point guard whose reputation for having at one time either broken the collarbone or punched everyone else in the face makes Jackie’s wish for a Flint Tropics version of a love-in seem far more unlikely. Yet when Monix puts equal dedication into making plays as he is in trying to make a play for former flame Lynn (Maura Tierney), some of team’s most promising players, including Coffee Black (Andre Benjamin) decide that Mr. White Men Can’t Jump should be the one calling the shots in lieu of Elf.

While frankly not nearly as hilarious as some of Ferrell’s alternate frat-pack comedies like the outstanding Anchorman as well as his other sports films (Ricky Bobby) and I know I’ll lose some film snob “cred” for admitting this, I found myself laughing more often than not throughout Semi-Pro. And this was far easier to concede given all of the surprisingly unique gags such as Jackie’s unfortunate choice to overlook the perils of sweat and makeup, insisting the entire team don eyeliner for their televised game, a constantly smoking and drinking Will Arnett who’s so erroneously convinced he was in Vietnam that he’s willing to play Russian Roulette at a spirited poker game, and their constant arguments with the priest-- Father Pat-- who also serves as the referee.

Even though a few of the jokes fall flat and it never quite scores on some of its creatively off-the-wall potential especially when considering the characters played by Tierney as well as smaller, muddled and vaguely written turns by Rob Corrdry, Andy Richter, and Andrew Daly, it’s great to see Harrelson tackling a movie in the same vein as Kingpin, especially coming off of the heels of impressive work in the Oscar winning No Country for Old Men. Still, it’s a Will Ferrell movie first and foremost and his loyal fan base won’t want to miss the chance to see the funnyman trying to encourage everyone to love him sexy while getting tropical in Flint, Michigan.Text Copyright © 2008, Film Intuition. All Rights Reserved. http://reviews.filmintuition.com/

Step Brothers

Thu, 25 Jul 2008 15:41:26 GMT

posted by FilmIntuitionJen

Director:
Adam McKay

In the gospel according to Robin Williams, Eddie Murphy, Bill Murray, Steve Martin, Jim Carrey, Ben Stiller, Adam Sandler and even Will Ferrell, to become a successful comedic actor in Hollywood, it’s traditional practice that you go for giggles first and awards later. Along the way, these stars and others have literally done anything for a laugh from sticking bananas in tailpipes in Beverly Hills Cop to beating themselves up in a bathroom in Liar, Liar before suddenly these multimillion dollar men decide they’d like the opportunity go from pratfall to highbrow in order to earn some indie film cred, show off their acting chops, and maybe earn a golden statue or two in the process.

Unfortunately, regardless of numerous accolades and positive critical acclaim, the public usually isn’t as supportive of seeing someone like Adam Sandler cry in Spanglish or Reign Over Me. And by staying away from theatres in droves, it sends a loud and clear message to Hollywood that when it comes time for spending our hard earned dollar, we’d rather be the ones who cry… in fits of laughter, that is. More importantly, despite mixed views, when these stars stretch their range from comedy to drama, it reminds viewers just how skilled one must be as a performer to have made humor look so effortless, which becomes especially apparent when “serious” actors decide to tackle comedy to sometimes disastrous results. It’s become an oft-repeated phrase that the worst thing one can do as an actor in a comedy is to try to be funny and typically, that’s precisely the crime most serious actors are guilty of when they make the leap from Shakespeare territory to Judd Apatow country.

With this in mind, it’s been a refreshing and delightfully unexpected surprise to discover the ridiculous hilarity of former independent film favorite John C. Reilly as he’s gone from his earlier work in films like Casualties of War, Boogie Nights, The Thin Red Line, Magnolia, The Hours, The Good Girl and Gangs of New York to dazzling all of us with his Oscar nominated turn in Chicago. While his role in that film was filled with emotion most notably on display in the show-stopping number “Mr. Cellophane,” it recalled some of the comedic spark he’d begun to ignite even briefly in his previous roles. And after showing up for an un-credited daring turn as a bullying monk in Anger Management, the comedy world took note, and Reilly has just gotten funnier with each passing year, making the sad-sack character he cornered the market on in the past seem like a distant memory, especially when he was paired alongside Will Ferrell for the 2006 Nascar comedy, Talladega Nights: The Legend of Ricky Bobby.

The freewheeling, improvisational style of Ferrell clicked so well with Reilly’s unlimited range that even when the film threatened to take a few wrong turns and go off course, seeing the two of them together is what elevated that film above some of Ferrell’s lackluster comedies over the past few years as he’s spread himself far too thin. While Ferrell made the bold decision to forgo another easy paycheck to appear in a few serious works, including a tremendous turn in the woefully underrated Stranger than Fiction before returning to his humorous roots, Reilly continued to dabble with comedy, becoming an Apatow favorite after his work in director Jake Kasdan’s Walk Hard: The Dewey Cox Story.

However, as good as the men were solo, audiences who’d begun wearing out their Frat Pack comedy DVDs including Talladega, Anchorman, Wedding Crashers, Old School, Dodgeball, Semi-Pro and others longed for the two to reunite. And working with their Talladega team of director/co-writer Adam McKay and producer Judd Apatow, they’ve finally done so. With this in mind, they go from Talladega’s “Shake and Bake” to “Dragon” and “Nighthawk” a.k.a. Dale and Brennan in the far trashier but downright hilarious new release, Step Brothers.

Middle-aged, lazy and filled with a narcissistic sense of entitlement, the two star as overgrown children with one of the most twisted versions of Peter Pan Syndrome you’re likely to see in a mainstream comedy. Still living at home, without the benefit of college education and little in the way of job prospects which would undoubtedly interfere with their overreliance on video games, fanboy culture, junk food and round the clock television, Dale (Reilly) and Brennan (Ferrell) leech off their respective parents, played by Mary Steenburgen and Richard Jenkins (The Visitor).

Predictably however, just minutes into the film, at an out-of-town work conference, the parents meet and decide to marry after an impulsive coupling. Even odder, their horny hookup becomes filled with greater glee when the strangers bond in a hotel suite amidst the realization that they’re both stricken with the same ailment of not being able to kick their roughly forty year old children out of their houses. Although the bliss of the newlyweds is cut short when Nancy (Steenburgen) and Brennan move into the home occupied by Jenkins’ Robert Doback and Brennan’s equally immature new stepbrother Dale.

After sizing each other up on the front lawn whereby they state their wish to go by tougher monikers (the aforementioned Dragon and Nighthawk), the new family make a strained attempt at bonding over dinner. As expected when the “boys” are forced to share a room with one another and proceed to menace each other with vicious, foul-mouthed threats, in the following days it escalates into physical brutality culminating in an over-the-top fight which nearly tears apart the entire house.

However, soon the foes become fast friends when they unexpectedly bond upon the discovery that Brennan’s smug, yuppie, pompous, name-dropping, slang-happy, SUV driving younger brother Derek (Adam Scott) is an even bigger jerk than both of them put together. But after Derek-- who’s not above insulting his wife (Kathryn Hahn) and forcing his children into a sing along-- makes it his new mission to sell Robert’s home for a monster profit so the elders can retire, thereby forcing Dale and Brennan out of the house, the two newly aligned step brothers must concoct a grand scheme first to sabotage Derek’s real estate ambitions while avoiding taking on anything resembling a job.

Quickly, as expected and par for the Frat Pack comedy course, they realize that their antics are starting to drive an irreparable wedge in their parents’ relationship and understand that—better late than never and definitely on their own terms—it’s time to attempt to grow up. And while the third act falters and feels a bit forced in rushing to wrap up all the loose ends, it’s saved by a truly memorable musical number at a Catalina Wine Mixer that is sure to get fans recommending it to others, telling them that it’s something they’ll just have to see to believe.

Earning its “R” rating only moments into the movie, the overwhelmingly foul-mouthed and mean-spirited first forty-five minutes of the film threatens to kill the successful and genuinely earnest humor that follows. While it may leave a bad taste in your mouth—especially considering some of the unnecessarily vulgar sight gags, not to mention the guilty feeling of finding humor in something so juvenile-- it’s the charm of Reilly and Ferrell that saves the film.

Although you’ll definitely want to keep your children away, despite the appeal of the leads since the comedy isn’t as family friendly as the laughs served up in Talladega, the presence of the two and the sheer exuberance on display in their performances reminds us that no matter how cruel the actions of the characters are, you just know that it’s done with the best of intentions. And ultimately you can’t help but buy into the silliness as they damn near break their necks in order to just make us laugh, making Step Brothers a wickedly funny, if uneven blend of a little surprisingly sweet and some horrifically sour comedy.

Note: Be sure to stay in your seats after the credits begin to roll as Reilly and Ferrell exact revenge on a group of playground bullies in an admittedly tasteless yet unforgettably hilarious finale.

Text Copyright © 2008, Film Intuition. All Rights Reserved. http://reviews.filmintuition.com/