A lot has changed in the nine years since the raucous, instantly quotable, and deeply silly hit comedy, Anchorman. Steve Carell, Will Ferrell, and Paul Rudd have all become big stars (sorry Dave Koechner), producer Judd Apatow has become a comedy empire unto himself, and director Adam McKay has gone on to helm several other hit Ferrell collaborations. As much as I loved Anchorman, and I unabashedly do, I was nervous about a sequel capturing the same magic. While Anchorman 2: The Legend Continues cannot be as good as its predecessor; my worries were mainly unfounded because this is still the funniest movie of the year. Simply put, if you’re a fan of the original, you’ll find enough to enjoy, possibly even love, with this latest chapter. The laughs-to-minute ratio is pretty high, as long as you don’t mind some scenic detours. The plot is much looser this time with several competing storylines that come in and out of focus. There are segments that could have been cut completely, like Ron’s bout with blindness, but I laughed enough that I never minded. But that ending 15 minutes is where the filmmakers drop any pretension of reality and double down on absurdity. It’s no surprise that those last crazy 15 minutes were my favorite. The cast is universally strong together, working off one another’s comedic styles so effortlessly, but the plot is very much a kitchen sink approach. I’m happy that Ferrell and McKay, co-writers again (though it’s hard to credit a collaborative improv), didn’t feel the need to recycle many jokes from the first film, reliving their old hits for fans hungry for instant nostalgia. Anchorman 2 is the same brilliantly broad comedy and absurdist dada experiment every loyal fan was hoping for. Give the gift of Ron Burgandy this holiday season and stay classy, America.
Nate’s Grade: B+
At turns randy and sweet, this romantic comedy is surprisingly honest about the trials of long-distance relationships. Justin Long and Drew Barrymore fall for one another before their respective careers place them on opposite coasts. They explore all the real frustrations of having your beloved only reachable via phone for months on end. Going the Distance presents two likeable leads with an affable chemistry, and the real kicker is that they genuinely love each other. Nobody is a man-child or a shrew. The real villain is the distance. While the film doesn’t know if it wants to be a Judd Apatow-style raunchy comedy or a saccharine romantic comedy, there is a strong rooting interest in our couple. The supporting characters aren’t too wacky, the situations feel more authentic than contrived, and our couple makes seriously difficult decisions in the end that are downright adult. Going the Distance is a true surprise of a film. It’s got enough laugh-out-loud lines and situations to recommend as a comedy and enough emotional involvement to recommend as a relationship drama. It’s a little unnecessarily vulgar at times, like a fascinated kid who has just discovered the power of dirty words. While it may not go the full distance, this cheeky rom-com will nicely get you to a pleasant place.
Nate’s Grade: B-
Obviously this movie is bad. A sequel to a lukewarm family film from nine years ago, the chances were slim that Cats and Dogs 2: The Revenge of Kitty Galore would have ever worked. They don’t even have the temerity to have the subtitle read “Pussy Galore” for fear that repeating the most famous Bond girl name might cause parents discomfort. It’s a live-action talking-animal movie that posits that cats and dogs have been fighting an ages-old feud and they all have secret lairs and technology at their service despite lacking opposable thumbs. Really, premise alone you’re already lowering the standards, and with standards firmly and securely lowered, you may even laugh once or twice (that’s probably about it). It depends on how susceptible to puns you are because that is the primary joke vehicle. The film makes an attempt to throw animals into a Bond-styled action thriller with, pardon me, shaggy results. The character animation is poor, the dialogue feels like it was stitched from one groan-worthy pun after another, and yet Cats and Dogs 2 doesn’t offend with its sheer badness. Premise alone, you sort of watch the thing in a vegetative state.
Nate’s Grade: D+
Surviving Christmas was originally supposed to be released, get this, a whole year ago for Christmas 2003. Paramount objected to the original release, saying it was too close to the release of their own Ben Affleck action flick, Paycheck (I doubt anything could have helped that turkey). So Dreamworks held onto it for another year and released it around the holidays. Halloween that is. The nation hasn’t even experienced Halloween or Thanksgiving yet, and we’re already getting a Christmas movie in our stocking. Given Affleck’s recent track record (the man hasn’t had a hit movie since 2002’s Sum of All Fears), audiences might not expect more than a lump of coal when his name’s above the title.
Drew (Affleck) is a cynical ad executive trying to figure out his plans for the approaching Christmas season. He gives his girlfriend tickets to Fiji, but she expected an engagement ring, so she dumps him right there claiming he doesn’t know what family life is. Drew finds his old family home now populated by the Valco family. He offers Papa Valco (James Gandolfini) $250,000 for him and his wife (Catherine O’Hara), son, and daughter (Christina Applegate) to be his family for Christmas. Papa Valco accepts. Drew is a stickler for family tradition, and mandates tree shopping, hat wearing, dinner script reading, and sleeping in his old room. The family’s hostility begins to wear down but things get even stickier when Drew falls for the Valco’s daughter, and then his ex-girlfriend shows up wanting to see his family.
The central flaw of the film is Affleck’s character. Drew is a jerk. That’s all there is to it. Somehow Affleck has become the go-to actor for arrogant, work obsessed men that desperately need to see that there’s more to life (Bounce, Jersey Girl, Forces of Nature). I think this is also the second or third time he’s played an ad executive. Surviving Christmas seems to exist in some weird dimension where a jerk shows us the true meaning of Christmas and family togetherness. What’s even worse is that Drew doesn’t change as a character, he doesn’t seem to grow, and the ending actually seems to reward him for his selfish, material, obnoxious ways.
I like Affleck, I really do. I like his work in Kevin Smith’s films, and he can make a good action hero if given the right material (Say a Sum of All Fears, and not so much a Paycheck). The man is charming, he’s eloquent, and he’s self-deprecating and constantly funny. He’s the kind of guy you want to buy a beer. Now, having said all this, Surviving Christmas is Affleck’s worst performance of his career. Affleck can do comedy, and not just in a Greek tragedy kind of way with his life in the tabloids. In Surviving Christmas, Affleck mugs like nothing is sacred. His eyes bug out. He exaggerates near any expression, from his smug grin to his childish fits. For a man who has Gigli, Reindeer Games, and Pearl Harbor to his credit, it’s something when it’s said that Surviving Christmas may be his acting low point.
Gandolfini seems to have been cast to play against type. He’s still got that flinty stare and slow simmer of anger, but he’s generally wasted. He’s the comic foil to Affleck’s jerk, and yet he still doesn’t come across that much better. His monstrous woolly beard is also mildly disturbing. Applegate brings more life to her love interest role than the role deserves. Her romance with Drew seems so spontaneous, especially given her natural hostility to him. The only actor that has any real moments to stretch and shine is O’Hara. A veteran of improv, O’Hara has some of the film?s funnier moments, like when she makes mini marshmallows with a butcher’s knife, or her wild photo shoot Drew arrangers for her.
Surviving Christmas is indeed a chore to sit through. The movie, at its gooey heart, doesn’t know what kind of holiday film it wants to be. A good example is the opening montage of holly jolly Christmas sequences. In between standard, saccharine moments of feeling, there?s an old grandmotherly woman who bakes a tray of gingerbread men, with frosted frowns, and then sticks her head in an oven. Huh? Surviving Christmas tries to have it both ways. It wants to lampoon Christmas sentiment with the occasional touch of dark humor, but then it plays into a feel-good holiday formula complete with sled rides, tree lighting, and hot cocoa. The result is a schizophrenic comedy that doesn’t work being dark or cuddly.
The whole wacky premise of Surviving Christmas screams sitcom, and the conventional proceedings and stock characters that follow guarantee it. The only way this could be more of a sitcom is if they drew a line down the middle of the house, the boss was coming over for dinner unexpectedly, and a pesky cat swallowed someone’s wedding ring. Surviving Christmas‘ relation to a sitcom is the only way I can explain why the film has stale jokes about internet porn (What, there’s porn on the Internet? When did this happen?). There’s even horny old men and wedgie jokes too! This is a movie in desperate need of a laugh track. I kept expecting everyone to turn their heads and go, “Dreeeeeeeeew” and then Affleck shrugs his shoulders, bugs his eyes out, smirks, and the studio audience goes wild.
It probably doesn’t help that Surviving Christmas is credited to over five writers and was directed by the director of Deuce Bigalow: Male Gigolo. The comedy rarely hits its marks because it’s so frustratingly tied up in its identity. The film wants to make incest jokes, but then in the same breath it wants us to listen to some syrupy back story explaining why Drew is the lonely, socially challenged jerk he is. The laughs of Surviving Christmas are mostly limited to broad slapstick and the occasional inappropriate remark. The preview audience I watched the film with seemed to be rolling in the aisles while I mostly rolled my eyes.
There will be a section of the public that enjoys Surviving Christmas. Fans of Christmas cheer and broad PG-13 comedies may find laughs amongst the wreckage. Surviving Christmas doesn’t have the gusto to commit to black comedy like Bad Santa (a new Christmas classic), but it also doesn’t build its characters strongly enough for an audience to care about them. They’re all mainly jerks and twits. This is a Christmas movie that doesn’t know what stripes it is. How else to explain it coming out in late October.
Nate’s Grade: C