You know that it’s been a weird year when Danny McBride, an
actor and writer better known for his comedic works, is currently riding high on a horror movie. This kind of step into different genres doesn’t have to be a
bad thing (worked a miracle for Jordan Peele), but if McBride wants to keep up
with his standard trade, it’s an easy ask that he be attached to works worth
their salt. And this kind of is, in a roundabout way, as despite this being
billed as a comedy, laughter isn’t exactly the first reaction this gives. It’s
a little too low-key and a little too preoccupied with moodier pursuits for
that.
The other two mains, not so much. Danny McBride is useful
here as a needed voice of reason as the resident cameraman, but considering
he’s the one trying the most to give this feature some humour, his primary
efforts feel like he’s trying too hard to make this fit. To say nothing of
Montana Jordan as Brolin’s son, whom in seconds it becomes clear that this is
the only non-Big-Bang-Theory acting gig he’s ever had, meaning that he already
sounds awkward even without including his ‘child that talks like the adults’
dialogue.
So, yeah, the comedy is pretty flat, but the more dramatic
moments actually land on solid ground more times than not. The perspective of
trophy hunting shown here feels like someone looked at the success of Duck
Dynasty and made the expected over-compensation joke… and then decided to think
about that idea seriously. It’s used as a means to look at traditional
masculinity, the idea that being able to hunt and clean your own food is a sign
of true manhood, and questions what good that notion even accomplishes. You
spend so long proving your worth as a hunter, even if it’s just to convince
yourself of that worth, that you end up neglecting the people you’re supposed
to be providing for with that kill.
If there’s anything that qualifies as a ‘running gag’ in
this film, it’s how self-consciously devoid of estrogen the main narrative is.
Brolin’s Buck actively doesn’t want women involved in the trip, to the point
where he forbids both his cameraman and son from talking with their own
girlfriends while they’re out. It’s a path that has already led to a downfall,
being a key component in why Buck is divorced, but because actually staying in
touch with loved ones seems to clash against his own views of what a man is, he
doesn’t see the problem. Or maybe he doesn’t want to, since doing so would confirm for him that he has actually
screwed up. And with how much he’s still processing over the past two years,
Buck isn’t ready for that just yet.
This film isn’t exactly an anomaly as a downtempo character
study billed as an out-and-out comedy; Manny Lewis went through the same thing
a few years ago. And while I definitely give this film credit for his sly
musings about men and hunting, since hunting in most regards isn’t exactly the
necessity it once was, that isn’t enough to change how lifeless a lot of this
is. It’s intentionally low-key, sure, but it goes too far in that direction,
which might go to explain why the jokes, when we actually get them, land with a
damp squib. This would’ve benefitted from a bit more accuracy and a lot more
focus before making the shot.
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