“The Universe Has A Tendency To Point Us In The Right Direction…”
Renowned for his work as an accomplished cinematographer on an array of American comedies including War Dogs, The Hangover Trilogy as well as the upcoming blockbuster franchise sequel, Godzilla: King of the Monsters, New Jersey citizen, Lawrence Sher, turns to a debut in directing for Father Figures, a messy, overlong and staggeringly sickening road trip comedy featuring Owen Wilson (Wonder) and Ed Helms (Captain Underpants) as alienated siblings, Kyle and Peter Reynolds who embark on a self proclaimed journey known as “Operation Whose Your Daddy” after being informed by Glenn Close’s (The Girl With All The Gifts) mother figure, Helen Baxter, that she is unaware of her children’s true parentage. With a narrative which twists and turns through redemptive family drama to lad-cultured sex ventures and finally settling for saccharin fuelled cop-out nonsense, Sher’s movie is fundamentally unsure of what it entirely aspires to be, and with a two hour runtime attempting to hold it all together, Father Figures is unsurprisingly dour, a film which not only comes across as your run of the mill Owen Wilson centred comedy, but an Owen Wilson centred comedy without any meaningful laughs.
Settling on air of overripe repetition as our leading duo move from state to state in order to locate their true titular father figure, the screenplay attempts to shoehorn in as many jarring cameos as humanly possible for some form of comedic effect, with the likes of Ving Rhames, Terry Bradshaw and the Oscar winning J. K. Simmons, yes, that J. K. Simmons, each conforming to a soap opera type scenario in which each character has around ten minutes to show off their goods and force some form of sketch show-esque comedic set piece before being entirely forgotten about as we head onto the next underwritten character who swiftly follows such a mould. With Wilson hitting snooze mode and regressing into normality after winning back some form of merits after his performance in Wonder, the star revels in handing the director a stereotypical Owen Wilson performance, one which clashes with Ed Helms’ pretentious, all-moaning flannel of a character who not only couldn’t look farther from being an on-screen sibling of Wilson if he tried but is the type of American character who believes their life is an utter shambles even with staggering levels of wealth and a high class occupation which of course only acts as a continuous, narrative weaving joke. The jokes are joyless, the script soulless and ponderous, and whilst at times the chemistry between the two stars evoke a sense of enjoyment that the film may be heading somewhere, the concluding act is shameful and for two hours of your life you may never get back, Father Figures really isn’t worth the risk.
Overall Score: 3/10
“When Does Telling The Truth Ever Help Anybody…?
One of the most crystal clear components of War Dogs, the latest comedic drama from Hangover Trilogy director Todd Phillips, is the obvious and sometimes uncanny influence of Martin Scorsese, particularly that of Goodfellas and Casino, with the fast-paced formula and quick-fire editing of War Dogs being the staple within a blueprint which verges on the edge of daylight robbery. Saying that, although the principle layout of War Dogs is not exactly the most original, the film is saved two-fold by the inclusion of Miles Teller and Jonah Hill in the films’ lead roles, lead roles which are characterised clearly by each side of a coin, with Teller’s David Packouz being the twisted moral compass in partnership with Jonah Hill’s greed-infested monster, Efraim Diveroli. Adding to the Scorsese influence is the notion that War Dogs is essentially Lord of War meets Wolf of Wall Street, a film in which Hill also starred in and a film which too has a black heart at its’ core, showcasing the evilness of greed and the consequences certain actions inevitably lead towards. That doesn’t mean it isn’t fun though.
In a year in which The Big Short gave us a comedic insight into the downfall of the economy and America’s presidential race being wholeheartedly in the spotlight, War Dogs does seem rather timely. A satire into the gun-ho nature of the US war efforts, War Dogs does feature some rather top-end black humour and although the movie does suffer when heading into the direction of vulgar, laddish type humour between our two leads, reminiscent of the director’s previous work, its’ the dramatic seriousness within the movie which makes the film work as a whole, particularly the third and final act in which we witness the inevitable downfall of our two leads who realise to what extent their “illegal” doings have had on not only themselves, but the country as a whole. War Dogs is by no means perfect, but it is very entertaining and a double-bill with a film like The Big Short would be a quickfire lesson into the politics and principles of the world as we know it today. Nihilism is a bitch.