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.
#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
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.
When he finds out that his work superiors host a dinner celebrating the idiocy of their guests, a rising executive questions it when he's invited, just as he befriends a man who would be the perfect guest.
When Cam Brady (D-NC), a four-term Congressman, becomes a liability, the Motch brothers (think Koch brothers) recruit Marty Huggins, the son of a Republican heavy hitter, to run against him and be their vehicle to establish factories in the district that will import cheap Chinese labor. Trouble is, Marty is a lightweight, so his makeover falls to consultant Tim Wattley. The race tightens as Cam constantly shoots himself in the foot, while the prospect of winning also changes Marty and his family's dynamics. Meanwhile, Cam plays dirty, and Marty cottons on to the Moches' grand plan. What options do the rich have to get their way? Written by
Zach Galifianakis' uncle Nick had been a North Carolina Congressman who lost the 1972 Senate election to Jesse Helms. Plus, it is stated in the film that Galifianakis' character's father was the former campaign manager to Jesse Helms. See more »
Just after Cam Brady (Will Ferrell) punches the baby's face, the different newscasts use actual footage of the punch from the film itself (slow motion, baby's perspective, different angles...) and not moving images from what a video-camera of the News would take. See more »
[Cam Brady has just left an offensive message on a family's answering machine]
By being in the same room as that machine, the kids became consenting adults! And this is 2012, who still has an answering machine in this day and age? In my lifetime, I have made over 100,000 phone calls and maybe 1,000 of them are obscene! That's a very small percentage.
See more »
During the credits there is an additional scene depicting the trial with Motch brothers. The scene also partly explains the origins of Tim Wattley. See more »
Its ironically authentic lampooning of real politics is the funniest part of all.
The Campaign offers many hilarious moments in the vein of humor that one has come to expect from its creators. Will Ferrell is entertaining as always with his "presidential" accent and foul-mouthed quips. Zach Galifianakis also presents quite a character, often outshining his co-star with his supremely bizarre eccentricities. But underneath the layer of laughs is a rather forgettable story. It's undoubtedly a great basis for the two comedy giants to clash, but the plot neither furthers our interest in its leads nor their plight. Much of the time it feels as if we lose no matter who wins. Perhaps its ironically authentic lampooning of real politics is the funniest part of all.
North Carolina congressman Cam Brady (Will Ferrell) has fallen into a leisurely routine of false promises and general negligence in his duties as the longtime unopposed representative. But after an obscene phone call to the wrong person finds Brady's approval rating drastically down, corporate bigwigs Glenn (John Lithgow) and Wade Motch (Dan Aykroyd), decide to replace him with someone they can easily control for their own devious schemes. Their candidate is mild-mannered Marty Huggins (Zach Galifianakis), a tourism enthusiast with naïve ideas of bettering his hometown. When Huggins announces his candidacy, and the stunned Brady quickly introduces him to the sinister world of politics, the battlefield is set for copious smear campaigns, name tarnishing and disgraceful machinations to destroy each other's reputations. But as the debates get dirtier and the backstabbing more barbaric, both candidates begin to question how far they'll go to win and what they're willing to lose.
The Campaign has an amusing premise. It examines the corruption, general crookedness, and underhanded big business influences behind politics, employing a wildly satirical viewpoint coupled with abrasive language and hysterical visual gags. "When you've got the money, nothing's unpredictable," insists Glenn Motch, defining his wealthy persuasions over chancy voters. An underdog candidate is uprooted from unremarkableness to be subjected to an immoderate transformation, itself an entertaining feat, for the sake of molding a puppet for exploitive moneymen. And he is to combat a long unopposed, professional politician, who has grown too accustomed to the post without having to put effort toward purpose or even basic responsibility. The two face off in riotous slander, invidious advertising strategies, backbiting, and baby punching. And their warfare gets steadily more caustic as election day looms. But that's it the setup is the story, and there's nothing more meaningful beyond that.
The tired theme of "do the right thing" rears its head, but it never serves to stress originality or the means for further mockeries of recognizable, past political blunders. The My Fair Lady shtick is catchy, Galifianakis and Ferrell are equally witty in their roles (their ridiculousness is amplified by an anticipated collaboration), while goofy voices (think one part Jiminy Glick and one part Stuart Smalley for Zach, with Will blending his Saturday Night Live presidential impressions), dirty jokes, and slapstick weigh in proportionally for humor. The Campaign also points the finger at the idiotic everyman who misinterprets intent and blindly falls for thinly stretched defamation attempts. But what does it all lead to? A few grand laughs and lovable imbeciles don't amount to a story it's essentially a promising foundation for comedy that forgets to tell a full-bodied, meaningful tale of political conversion and redemption.
The Massie Twins
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