#1 NASCAR driver Ricky Bobby stays atop the heap thanks to a pact with his best friend and teammate, Cal Naughton, Jr. But when a French Formula One driver, makes his way up the ladder, Ricky Bobby's talent and devotion are put to the test.
John C. Reilly,
Sacha Baron Cohen
In 2002, two rival Olympic ice skaters were stripped of their gold medals and permanently banned from men's single competition. Presently, however, they've found a loophole that will allow them to qualify as a pairs team.
John Beckwith and Jeremy Grey, a pair of committed womanizers who sneak into weddings to take advantage of the romantic tinge in the air, find themselves at odds with one another when John meets and falls for Claire Cleary.
Brennan Huff and Dale Doback are both about 40 when Brennan's mom and Dale's dad marry. The sons still live with the parents so they must now share a room. Initial antipathy threatens the household's peace and the parents' relationship. Dad lays down the law: both slackers have a week to find a job. Out of the job search and their love of music comes a pact that leads to friendship but more domestic disarray compounded by the boys' sleepwalking. Hovering nearby are Brennan's successful brother and his lonely wife: the brother wants to help sell his step-father's house, the wife wants Dale's attention, and the newlyweds want to retire and sail the seven seas. Can harmony come from the discord? Written by
The song Will Ferrell sings, Por Ti Volare, was also used as the opening credits song in the movie "Blades of Glory" that he starred in with Jon Heder, Amy Poehler. See more »
At the Catalina Wine Mixer, Dale plays Boats n' Hoes. While he is on stage, Brennan is still talking to Robert. In one shot though, Brennan is talking to Robert, and no one is at the drum set, but Boats n' Hoes is still playing and Dale is still singing. See more »
There are two additional short scenes, one during the credits and one afterwards. They are; Brennan & Dale arrive in a helicopter to have a rematch fight with the junior high bullies. Brennan & Dale suffering another joint bout of sleepwalking, colliding into one another before heading out of a door. See more »
I never in my wildest dreams thought I'd ever utter these words about a Will Ferrell vehicle, especially one with Adam McKay as collaboratorbesides that Pearl video The Landlord on the internet last yearbut here it is. Step Brothers is an absolutely hilarious film. From end to end, I don't remember the last time I've laughed this hard, without stop. This is what Ferrell needs to do, no more of those bio-spoofs of idiots that fall flat due to their tired joke. He is unstoppable as a part of an ensemble when he doesn't have to be the center of attention for an hour and half. The guy is obnoxious, and while funny, the more freedom he gets, the more annoying he is. Having a guy like John C. Reilly to play off of helps rein him in and give the audience a break, allowing the jokes to breath and not become stifled by the monotony of his schtick. Like Old School before it, Ferrell kills in smaller doses. He has shown me that ability again here and whereas I won't even keep Anchorman or Talladega Nights on screen when flipping through the television, I seriously can't wait to revisit this one again.
There is no bloated plot involved or even a love interest to distract from the comedy like the previous two "Everyman" entries in the Ferrell/McKay tag team's canon. I do believe that is the most refreshing aspect here; they finally see that you don't need a contrived romantic bent to be successful, we as an audience don't need to see the schlubby guy get the attractive girl, that is a cliché used way too often. We go to see a film like this to be entertained and to cause us to wet our pants with unstoppable laughter. As a result there are no lulls as even when the two stars begin to see how they must shape up and become adults for once, the awkwardness brings the laughs as well.
Step Brothers isn't winning any Oscars any time soon. With a premise involving the union of two older professionals, both of whom have 40-year old sons still living at home, devoid of responsibility, and lacking serious occupations, what do you really expect? Nancy Huff, (Mary Steenburgen showing that she is still around Hollywood), and Robert Doback, (Richard Jenkins letting his funny side out to complement the wonderful dramatic turn he gave in this year's The Visitor), are in love and perfect for one another. Their sons, unbeknownst to them at first, are also soulmates in the best friend platonic way. Completely the same person, right down to the hiding things in the kitchen while sleepwalking at night, Brennan and Dale are children trapped in adult bodies who waited forty years to be brought together. The chemistry between Ferrell and Reilly is unstoppable on screen, they are having fun, they must be improvising, and truthfully not a second falls flat.
With so many gags, one would think it'd all seem a bit disparate and thrown together, but the filmmakers and stars have sewn everything up nicely. You want a rap video that is the most offensive thing you'll hear all year? Get Brennan and Dale to create a music talent agency. You want an a cappella rendition of Guns N' Roses? Give Brennan a cocky, pompous brother who can afford singing/voice listens for his entire familyabsolutely priceless, and Adam Scott kills in this role, "Pow!". You need some gratuitous fake nudity? Give Ferrell a chance to rub his genitalia on Reilly's drumset. Check, check, and check. These guys cover all their bases, not to mention the swearing quota. I am surprised that they approved an R-rating here because it is so vulgar. The fact that a couple lines from the trailer didn't make the final cut shows that the actors must have improvised and done multiple takes of each scene. As a result, I'm sure they all tried to be as creatively crass as they could and to fantastic result. Some of the gems that spew forth ever so naturally are one-liners that will be repeated over and over again.
Really, it is these vulgarities that make the film that much more enjoyable to me. I think that McKay and Ferrell took a page out of the Apatow machine's book realizing a hard-R can and will sell. No one holds back at all, some of the sarcasm even makes the characters cry because it is so harsh. I love this aspect as it plays into the fact that these are 8-year old adults. Their excess of childlike exuberance and simplicity of mind and lifeand let's not forget the way their parents react by either screaming and going to the Cheesecake Factory bar or coddling them as only a mother can doadds to the absurdity of the situation and the laughs. Dale and Brennan fight, bicker, and eventually do everything together because they aren't just stepbrothers, no they are brothers for life in terms of their internal makeup. Think you and your sibling growing up in grade school, multiply that to the nth degree in terms of sex, violence, and language, and maybe you will be able to imagine what's in store for you once you sit down at the theatre. Just don't forget to stay after the first short run of end credits as the best jungle gym park brawl ever is awaiting you. Those kids didn't even have a chance.
118 of 203 people found this review helpful.
Was this review helpful to you?