There’s something to be said about a comedy that requires an audience to puff illegal substances in order to fully be entertained. Somewhere along the line the Judd Apatow comedy unit went down a wayward track with the stoner comedy, Pineapple Express, an amiable goof of a comedy at best. The premise is solid, two stoners (Seth Rogen and James Franco) witnessing a murder and on the run. Rogen and Franco have a great rapport with one another that translates to plenty of good vibes and humor (Danny McBride steals the show as a seemingly indestructible low-rent drug dealer). But the movie veers off into action territory with bloody violence that really harshes your mellow, man. Pineapple Express never really settles on a consistent tone, so when the movie fully transforms into a strained guns-a-blazin’ action caper, the comedy has totally vanished. The realistic violence is intended to get the laughs. When people get shot, it’s ugly, and when ear lobes get blown off it’s just plain gross. There’s no room for humor in the third act and the action is lazy and uninspired. If Rogen and his writing partner Evan Goldberg (who scripted the much funnier Superbad) were aiming to create an action parody, then they didn’t push nearly hard enough. After the movie ended, I thought back to last year’s superior action parody, Hot Fuzz, which had a consistent tone and packed jokes as hard as punches. As a sober moviegoer who has never inhaled any such wacky tobaccy, Pineapple Express just kept eluding me. The movie is too slipshod, too misshapen, and it completely goes up in smoke by the end.
Nate’s Grade: C+
When it comes to clowning around, no one does stupid more smartly than Will Ferrell, a man perpetually in a state of arrested development. Talladega Nights: The Ballad of Ricky Bobby succeeds both as a satire on uplifting, redemptive sports movies and on the culture of NASCAR. The product placement is obscene in this movie, but then again, the same can be said with NASCAR racing. PowerAde had a contractual obligation to be cited at every family meal prayer, which itself turns into a competitive sport. Title buffoon Ricky Bobby (Ferrell) is so arrogant that he gets an ad for Fig Newtons on his windshield (“This ad is dangerous… but I do love Fig Newtons.”). Even the title is a perfect send-up. The redneck riffs are never very mean-spirited, but I like that the Southern bar keeps disco on the jukebox to “profile.” The sports clichés are picked apart, like the absentee father (Gary Cole) reappearing to learn the error of his ways. There’s a heavy reliance on slapstick and pretty much everyone in the movie is either a cad, a buffoon, or a jackass, so there are limits to that comedy.
True to 2004’s Anchorman, this movie hits its high points with the spontaneous moments of tangential weirdness, from sports announcers explaining how to put out invisible fire to Ricky Bobby learning to drive with a live cougar as a co-pilot. Talladega Nights doesn’t quite hit the absurdist highs of the infinitely quote-able Anchorman, and the movie spins its wheels all too often, but it’s got a greater number of solid belly laughs than most any movie out there today. Sacha Baron Cohen plays Jean Gerard, the gay, French Formula-One driver that upsets the stock car world. Cohen has great fun in an English language mangled performance Peter Sellers would have loved. When Ferrell and Cohen are face to face, you feel like anything can happen between these two quick-witted comedy titans. Ferrell has assembled another game cast of gifted improvisational artists and their blend of loony comedy feels like jazz. The downside with such a huge cast of very funny people is that not everyone gets the face-time they deserve (Oscar nominee Amy Adams comes to mind).
Talladega Nights is a big broad comedy with a great cast and some inspired chuckles. What other movie this summer could climax so perfectly with a man-on-man smooch and the observation, “You taste like… America”? Only one, baby, and it’s Ricky Bobby.
Nate’s Grade: B