Ben Stiller, as a presence in Hollywood, frankly mystifies
me. For a person who seems to have as much of an axe to grind on the
establishment as he does, he sure spends a lot of his time in patently weaker
productions. Sure, it’s as an actor, but it does feel like the game is playing
him at times. I mean, the Meet The Parents series took a very steep decline that
I can only hope is at its end and the Night At The Museum films, while okay
diversions for kids, had way too much L.A. sheen to really buy into why Stiller
would sign on for them… aside from the pay packet, of course.
Meanwhile, behind the camera, he’s made films like the epitome of clever filmmaking about dumb characters with Zoolander, the underrated comedic thriller The Cable Guy and let’s not forget his masterpiece as a satirical firebrand with Tropic Thunder. Something tells me that there was a bit of reality-influenced casting that went into his role in last year’s While We’re Young. Anyway, once again as prep for a newly-released film by the same director, time to take a look at his last release.
Meanwhile, behind the camera, he’s made films like the epitome of clever filmmaking about dumb characters with Zoolander, the underrated comedic thriller The Cable Guy and let’s not forget his masterpiece as a satirical firebrand with Tropic Thunder. Something tells me that there was a bit of reality-influenced casting that went into his role in last year’s While We’re Young. Anyway, once again as prep for a newly-released film by the same director, time to take a look at his last release.
The plot: Walter (Ben Stiller), a photo processor for LIFE
magazine, is unsatisfied with his own life and frequently daydreams about more
fantastical situations that he could be in. However, when an important negative
from established photographer Sean O’Connell (Sean Penn) goes missing, his life
is about to get a lot more surreal as he goes on a trip around the world to try
and track Sean down and recover the negative. Meanwhile, he has to deal with
his unrequited love for co-worker Cheryl (Kristen Wiig) and the pressure placed
on him by his new boss Ted (Adam Scott) to find the negative, which contains
the cover for LIFE magazine’s final issue.
This is a far cry from what I’ve come to expect from Stiller
in terms of how the film itself looks. The plot itself is rather expansive, not
to mention ambitious if you’re not gonna rely on backlots, and it’s a good
thing that the director’s usually restrained scope was widen immensely to give
this film the space that it needed. DOP Stuart Dryburgh, especially in the
location shots, brings some serious Lubezki-style grandeur to the production
and Stiller’s approach to the integration of Walter’s daydreams into the film’s
reality kinda works. The more
cerebrally fantastical side of the story is extremely varied in terms of its
execution. There are some decent ideas for fantasies used, and credit where
it’s due in that the pretty shaky CGI actually works to the film’s advantage in highlighting how unreal those scenes are. However, it
still feels like these fantasies weren’t used to their full potential, as they
seem to just drop away from the film after a while. Sure, it fits with the
concept of his life becoming more surreal on its own anyway, and it also helps
prevent this from aping Sidekicks with its use of dream sequences, but it also
makes the core idea of the film feel a bit thrown together as a result. So,
yeah, this is a bit muddled in terms of its visuals.
Over the last year or so, I developed a certain… disdain for
actor Adam Scott. Between his doormat role in Hot Tub Time Machine 2, the
complete worm he played in Sleeping With Other People and his performance in
Black Mass that I actively can’t even remember witnessing, he has never struck
me as someone I should care to see. That opinion has only strengthened after
seeing his completely twatbrick of a boss in this film. I grant him that he’s
good at being hateable as this film’s antagonist, but that doesn’t mean that he
is in any way enjoyable to watch on-screen for any length of time either. As a
result, the best parts of the film are those that have nothing to do with him,
and for reasons beyond just his exclusion. When the film is dedicating time to
the actual mystery, which feels like the kind of storytelling that Sierra Entertainment made their name with (trade Stretch Armstrong for skateboard, beat the
horndogs to the bicycle, etc.), it is at its most entertaining. More than
anything else, it’s commendable that this high-profile a filmmaker would give
this amount of weight to a story like this; proper adventures like this on film
shouldn’t be this infrequent. Then, much like how the fantasies would
occasionally intrude on the actual plot, the suburbs and Mr. Shitebeard come
around to spoil the mood. Bah.
I mentioned how this looks a lot different than Stiller’s
usual output. Well, this also feels
quite different as well. Even during his pre-film days, he had an attitude for
just setting fire to the entertainment industry. Be it TV, cinema, or even the
fashion industry, the man gets unrelenting in how they get portrayed. Of
course, in previous films like Tropic Thunder, Zoolander and even Reality
Bites, his approach to escapism was always a lot more venom-tipped. Just take
his tirade against how the Academy treats the mentally handicapped, a speech so
vicious that some audiences couldn’t tell how sincere he was being with it.
Here, while the general attitude is similar in how it regards escapism to be a
hindrance more than anything else (the hypocrisy writes itself), it’s a lot
more smoothed out than usual. Hell, even with how ambitious it can get
visually, I’d probably call this Stiller’s most ‘Hollywood’ production yet.
This isn’t helped by the rather rudimentary and Oscarbait-y
attempts at being ‘life affirming’. The use of LIFE magazine’s motto… God, it’s
so bad that I can’t even bring myself to finish that sentence. It’s dangerously
close to Christian film-levels of on-the-nose with its message. Yet another
reason why the scenes set beyond the confines of the humdrum are the most
engaging, as most of the more mundane scenes are set in the offices of LIFE
magazine, where the motto is plastered all over the damn place. I’d be
perfectly fine with the general conceit of the film of all the little things
that make up one’s life, from the events to the people, if it weren’t being
delivered in quite as milquetoast a fashion. Hell, Stiller’s brand of satire
would have definitely helped here as a less earnest take on this concept would
have definitely helped the main idea go down a bit easier. Then again, for as
much as the search for MacGuffin #25 did feel like it was being taken a few
wrong directions at points, the ending was surprisingly affecting. If nothing
else, that denouement actually managed to save a lot of the oversweetness that
came before it and ended the film on a nice enough note. Bear in mind that how
a film ultimately leaves the audience (namely, me) can and has affected its overall standing before, so keep that in
mind as we get into our conclusion.
All in all, while undoubtedly a lot softer around the edges
than his usual output, it still carries hints of his usual anti-escapism
sensibilities. Beyond that, the film itself feels like a cross between
Sidekicks and a less racy Leisure Suit Larry, which if nothing else makes me
want to see Stiller secure the rights to that series because, if this is
anything to go by, he would do a pretty good job adapting some of Sierra’s
output to the big screen. It takes a bit to properly get into, and it doesn’t
really represent the man at his best, but it’s a decent watch in its own right.
It’s easy to understand why it is so polarising with people, though.
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