Perhaps the most interesting concept in mainstream film this year, Stranger than Fiction has Ferrell playing the character in Thompson's newest novel, though he just recently has become aware of his status as fictional character. The idea is brilliant, much in the vein of Charlie Kaufman's crazy "plot within a plot" films like Adaptation, Being John Malkovich and Eternal Sunshine of the Spotless Mind.
Thankfully, the entire cast is up to the task of making the most mileage out of this quirky concept. Ferrell's crazed lunacy works wonders here, as his everyman abilities blend nicely with his penchant to spazz out in full improvisation mode. He equally carries the romantic, psychological, and comedic sub plots with ease, effortlessly engaging with his co-stars.
Gyllenhaal deftly handles another May-December romance, adding to her growing resume. She and Ferrell have a bizarre chemistry that you'd think you'd only find in a novel (or a film), further adding to the perplexity of the film's converging plot lines. She is sexy and charming, but believably drawn to Ferrell in way that's hard to explain, without the help of Hoffman's literary professor character.
Hoffman continues his career resurgence, as he is quickly morphing his history of brilliant leading man turns into stellar supporting roles that are upstaging his co-stars. Here he propels the film forward by guiding Ferrell's character arc and bridging the two major plots together. Hoffman demonstrates his comedic prowess in both physical and lyrical delivery, and is a treat to watch.
Finally, Thompson, who is normally one of my most hated screen foils for no reason other than she's the type of Brit that irritates me, rather than entices me, is quite charming as the writer of the entire piece. Thankfully, her screen time is limited, though she delivers well, much as she did in Love Actually.
This film has to be seen, possibly multiple times, to be fully appreciated. You will enjoy it on a multitude of levels.
Grade: A-
Thankfully, the entire cast is up to the task of making the most mileage out of this quirky concept. Ferrell's crazed lunacy works wonders here, as his everyman abilities blend nicely with his penchant to spazz out in full improvisation mode. He equally carries the romantic, psychological, and comedic sub plots with ease, effortlessly engaging with his co-stars.
Gyllenhaal deftly handles another May-December romance, adding to her growing resume. She and Ferrell have a bizarre chemistry that you'd think you'd only find in a novel (or a film), further adding to the perplexity of the film's converging plot lines. She is sexy and charming, but believably drawn to Ferrell in way that's hard to explain, without the help of Hoffman's literary professor character.
Hoffman continues his career resurgence, as he is quickly morphing his history of brilliant leading man turns into stellar supporting roles that are upstaging his co-stars. Here he propels the film forward by guiding Ferrell's character arc and bridging the two major plots together. Hoffman demonstrates his comedic prowess in both physical and lyrical delivery, and is a treat to watch.
Finally, Thompson, who is normally one of my most hated screen foils for no reason other than she's the type of Brit that irritates me, rather than entices me, is quite charming as the writer of the entire piece. Thankfully, her screen time is limited, though she delivers well, much as she did in Love Actually.
This film has to be seen, possibly multiple times, to be fully appreciated. You will enjoy it on a multitude of levels.
Grade: A-