Simon sees Paul Rudd as a bit of a ROLE MODEL and writes him a love letter of a review...
Now, I know ROLE MODELS- a Judd Apatow-a-like comedy featuring Frat-Pack regular Paul Rudd- isnt exactly going to set paces racing in the same way that mention of STAR TREK, or THE DARK KNIGHT effortlessly will, but I like it. Probably controversial. Basically, an energy drinks sales rep goes a bit FALLING DOWN ends up in court-ordered community service. With his moron side-kick and winds up being a role model for some terribly maladjusted kids. With hilarious, but thankfully not sexy results. I have to admit a certain fondness for Paul Rudd- the dynamic between his Mike and Hank Azarias David was a brief highlight in the latter stages of Friends, and hes ever-reliable as a slightly embittered comedic sidekick (ANCHORMAN, KNOCKED UP, even CLUELESS). But there is little doubt in my mind that he isnt a lead- once a film focuses too much upon him, he loses something of his misplaced-adolescent charm. He even seems a bit bored during the straight sections of his scene time, filling time until he can inject some sarcastic critical zing- perhaps still a little unwilling to accept his leading man status. Rudds highlight arguably was in 1998s OVERNIGHT DELIVERY, when his comedy was unexpected; in fact, hes blessed with the ability to not look like he should be funny, as he doesnt wear the ugly or rubber-face that most other comedic talents rely upon. While Jim Belushi, Jonah Hill, Seth Rogen and the late great John Candy probably developed a comic side to cope with the unfortunate things Mother Nature did to them, Rudd manages to channel a sense of comic timing and presence that thrives for the very fact that his appearance is unfunny. This is not necessarily his best performance, but he still manages to get some good laughs- especially when hes deconstructing the ridiculousness of human behaviour, including a good riff on corporate America- the cheesiness of the Dont do drugs, drink Minotaur instead energy drinks campaign and his challenge of the unnecessary pomposity of coffee sizes. Unfortunately some of the intelligent, witty pith is let down by Sean William Scotts immaturity- more than any other actor he is guilty of playing just one character- identikit bloody Dude-Wheres-My-Stiffler. If Rudd is slightly uncomfortable with his lead, then Scott is entirely too arrogant in his, and spends the entirety of the film making Stiffler-esque dick jokes, while looking like he has taken loads of roids, and his mouth is stuffed with cotton wool. In the words of Jeremy Clarkson (speaking about Will Young) he looks like hes been hit in the face with an axe. Now, let me just backtrack ever so slightly- dick jokes arent a bad thing; done correctly (shamelessly and indulgently, in case you dont know) I still chuckle like a pre-teen. Some of the best comedy is penis-shaped, and my favourite comedy film- ANIMAL HOUSE, owes a lot to the fundamental funniness of the phallus. Despite their individual problems, putting together the try-hard and the reluctant lead somehow magically works, when they are acting as a double-act: their dynamic is good and together they manage a comic timing Id never think possible of Sean William Scott alone. Perhaps hes eventually seen WELCOME TO THE JUNGLE, or BULLETPROOF MONK, and realised that actually working to bounce off the other member of a double-act is important to the success of the film. Hooch knew it, and now it seems Stiffler does too. Certain things dont hold up- the central situation of the comedy for one. Of course its one of them comedy gold scenarios you dream of- unwilling, unsuitable men forced to mentor ungrateful kids, but what of the horrifying prospect of a penal system that makes criminals role models for impressionable littluns. How very irresponsible. The second thing is the casting of Christopher Mintz-Plasse (SUPERBAD'S McLovin) as Augie Farks- a Little (a child being mentored)- when he is clearly at least 18. That aside, hes a funny little fella- all awkward and geeky and socially inept, creating his very own Middle Earth universe and getting boob off an imaginary Elvin princess the first time we see him. And this fantasy-play gives birth to some of the funniest scenes in the movie, when in a vain effort to bond with Augie, Danny goes with him to some LAIRE gatherings (like them geeky role-play days when accountants from Doncaster pretend they are Snorkrax, Warrior Lord of Cillit Bang or something). In fact, as much as I hate the cliché, its the young lads that steal the show. And the undisputed star is Wheelers buddy Ronnie, a little ball of bile, spewing street slang like a miniature Huggy Bear. Seems to me, this actor is set to play a long line of sass-giving junior side-kicks (like Gary Coleman- who he played in 2006 coincidentally- would have if the Universe werent such a hateful bitch at times)- having already turned in one other recently in the derisible FRED CLAUS. His funniest jibe? When the delightful Ronnie responds to Dannys request to be picked up in two hours with Fuck you, Miss Daisy! On the down-side, by the time the fucking buddy montage came along mid-way through, I was beginning to doubt my initial optimism for the film- I seek innovative story-lines and plot devices in even the most worn of film genres, and this montage seemed only to compound my disappointment when none appeared. Why do montages still exist? Okay so they are an easy way to show the passage of time, and the development of relationships, but as far as Im concerned its lazy film-making to slap it all together with some uplifting music behind it (even if some of the jokes in this particular one are alright). If you cant fit those key aspects into ninety plus minutes, you shouldnt be allowed to make the film in the first place- unless youre Harold Ramis and youre making GROUNDHOG DAY- Bill Murrays various suicides representing the one and only montage that I like in cinematic history. But thats another story. I had spent most of the first half of the film hoping the inevitable schmaltz at the end wouldnt come, and the rest of the time knowing it was only a matter of time- flawed characters inevitably have a moment of epiphany, and ROLE MODELS is no different. But then my epiphany- the inevitability doesnt detract from the enjoyment and as soon as I stopped looking for innovation I started enjoying it more. And in the end, the climax; a confrontation on the LAIRE battlefield, actually served up a refreshing shake-up to the usual formula, resisting the tendency to abandon humour for sickly-sweet schmaltz. In amongst the immature innuendos (thankfully the potential paedophile element is kept to a refreshing minimum) there are some seriously funny elements; particularly LAIRE battle scene climax, which facilitates an intelligent riff on the action movie genre; from the genius Kiss-style tooling up sequence through Wheelers self-sacrifice to save his buddy. This perfect blend of knob-gags and intellect traces back to the influence of Judd Apatow and his legacy, and long may it continue as far as I concerned.