Zach Galifianakis, for as varied and kind of inconsistent as
his filmography is, might be the quintessential modern comedian. He embodies
our still-growing fascination with random and rather annoying occurrences,
working with some of the biggest suppliers of that style of humour like Funny
Or Die and Tim & Eric, yet he has enough common sense to not let the actual
humour of those occurrences just get washed away. Hell, his breakout role in
The Hangover was a serious lightning-in-a-bottle scenario that even that film’s
sequels weren’t able to replicate. Not only that, he’s managed to move into
more down-to-earth fare with Birdman and did a damn good job keeping up with
the already stellar cast. He has two theatrical films out in cinemas right now,
and even though this film’s poster has been lingering and instilling a form of
dread in me for many months now, this is the one that I’m looking forward to by
comparison.
The plot: David Ghantt (Zach Galifianakis), a driver of an
armoured truck, is unhappy with the current direction of his life. However,
when his co-worker Kelly (Kristen Wiig) asks for his help in a heist of one of
the trucks, David thinks that he has found that excitement he’s been looking
for. However, as the mastermind behind the heist Steve (Owen Wilson) starts to
believe that David is a third wheel that needs to be let go, it turns out that
David may be a more formidable opponent than any of them could have guessed.
The cast here is actually really well arranged, despite the
fact that I can’t stop wishing that Jim Carrey was still attached to this as
David. With this kind of story, his screwball sensibilities would have been perfect. Don’t get me wrong, though;
Galifianakis gives the lead a certain affable charm while (mostly) preventing
him from being the guy that we collectively laugh at. Wilson’s cockiness, complete with that unmistakable delivery of
his, fits his more-confident-than-he-should-be character to a T. Wiig’s
inexplicable singing makes a return from Sausage Party, and she does end up
being a rather passive character for more of the film than I would have liked,
she’s still good as what is essentially a manipulator with a warm heart. Kate
McKinnon as David’s fiancée is kind of creepy as the dead-eyed sub-suburban
housewife, but I just have to give her credit when she can play a person this
placid and not just blink out of existence. Jason Sudeikis appears later on as
a hitman, and he is still as mesmerizingly engaging as any other film he’s been
in. He’s like a cross between Rooster Cogburn and Winner Sinclair; it’s all
kinds of awesome.
Within moments of David’s opening narration, the prospect of
the heist at the core of the film’s plot is brought up by Kelly. Don’t let this
fool you into thinking this is a trimmed-down narrative; it is about as adept
at wasting time with ‘hilarious’ rambling conversations as pretty much every
other comedy film out this year. If there’s anything I can credit this film
with in that regard, it’s that I have nailed down what exactly makes this style
of humour work(?) and distinguishes it. Basically, it equates to a lot of
commenting about what other people look like (“You look like [famous person] after
[event that doubles as a punchline]”) and, for way too much of the start of
this film, that’s what happens here too. When dealing with a story that is a)
based on actual events and b) full of enough weird details to fill a script
well enough on its own, falling back on the hack’s guide to comedic writing
make this a fairly unsubstantial sit… at first.
Once Sudeikis’ assassin enters the picture, with his
perplexing performance in tow, the film starts to pick at a rather drastic
pace. This is about halfway through the film, and it’s here where the film’s
reliance on line-a-rama improvisations starts to fall and its reliance on
situational comedy starts to rise. While it could be a result of just how
Sudeikis and Galifianakis interact on screen, making for easily one of the
better comedic double acts of the year, it also ends up spending more time on
letting things actually happen within the narrative. Namely, showing David as
an impossibly surprising force of will once it hits the fan and people start
gunning for him. It’s here where the fact that this based on an actual headline
comes closer to the light, as the film portrays him in a similar light to Carl
Williams in the Aussie series Underbelly, which was also based on actual events
and featuring an affable character that manages to defy logic and succeed where
the rules of chance say that he shouldn’t. It also helps that the scenarios he’s
given, like his connection to the assassin, and the physical comedy he pulls
off, like the chase scenes involving the assassin, give the film a bit of
heartiness that make it worth the uphill climb it first has to take.
However, more so than it actually being funny, the biggest
surprise here is that the writers have put a remarkable amount of thought into
the inner workings of the script. Specifically, the big question of why these
people decided that committing grand larceny was the way to go. The film starts
out with David reminiscing on his upbringing and watching exciting stories of
people in his present line of work… and then the utter letdown that is how that
job is like for the other 364 days of the year: It’s as dull as any other blue
collar workload. Add to this McKinnon being as zombified as she is and the
comments made around Steve and his wife once they move into a ritzier
neighbourhood, and this starts to fall into classist satire territory. You
know, looking into the circumstances of the lower class, how kind of awful they
are, and just how desperate some of them have to be to escape from that
lifestyle. For a film that started spinning its wheels in the mud, the actual
care and effort taken into fleshing out the circumstances show that there was
actual intent put into the concept of making this story into a film. Believe it
or not, that amount of effort is a lot rarer nowadays than it should be when it
comes to cinema adapted from real world stories.
All in all, while it does take a while to really kick off,
this is actually really damn funny. The characters are varied, but really good
when they hit it right like with David and Mike the hitman, the comedy starts
off sour but sweetens up once the film’s priorities set in, and its approach to
bringing one of the weirder true crime stories to the big screen is very
commendable and something I can only hope is followed by the many that are sure
to follow. Given my peculiarly picky tastes when it comes to comedy, it takes
something pretty outstanding to make me vibe with this style of mirth and this
is certainly that.
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