Ferrell, a certifiably unhinged comedian if ever there was one, reveals his track trash personage in this uneven, but sometimes hilarious farce. He plays a man, born in the backseat of a speeding car, who possesses a lifelong love for going fast. His deadbeat father Cole, a would-be racer himself, instilled in him the need to win at all costs. Meanwhile, his best friend Reilly supports him to that end while never getting a chance to revel in his own racing glory. Ferrell seemingly has it all; the mansion, the collection of cars, the busty trophy wife (Bibb) and two (impossibly impolite) sons. Unfortunately, his ego has grown along with his wealth and fame, so when gay, French Cohen appears out of nowhere to challenge him on the track, he risks falling very far if he loses. Ferrell, as usual, completely buys into the characterization with no regard for his own vanity (one recurring gag has him running around in some baggy briefs and a helmet!) Some of his jokes are a little indulgent, such as the endless dinner prayers featuring the many incarnations of Jesus, but most of his stuff is pretty amusing here. He's armed the film with a battalion of solid comic performers in supporting roles as well. Bibb is dead-on as the shallow, but sultry, wife, Reilly has just the right blend of dim-bulb amiability and Cole is excellent as the no-good, emotionally bankrupt father. Lynch plays Ferrell's put upon mother and is strong as well. As Ferrell's children, Tumlin and Russell are afforded some real ear-opening bits of dialogue! Adams is appealing in a smallish role as Ferrell's supportive personal assistant. Best of all is the uproarious Cohen who adopts a hysterical accent and who essays his role with captivating arrogance. (Allegedly, this character was partially inspired by real life racer and "Dancing With the Stars" champion Helio Castroneves!) Other comic performers aim, with varying degrees of success, for their own share of funny moments on the screen. One doesn't have to love, or even like, NASCAR in order to appreciate the humor here, the target is really the people who attend such events, though a working knowledge of that world may make some of the little cameos mean more. That said, the film runs the risk of offending (and indeed in some cases has offended) the core audience who enjoys NASCAR. However, Ferrell skewers just about every walk of life in his films and certainly did the same during his many years on "Saturday Night Live". It's just this segment's turn. If the racetrack fans can get past the jabs at their compadres, they may run into another roadblock with all the subversive, at times mystifying, yet hilarious, doses of homo-erotica tossed in every now and then. Most memorable, aside from a lengthy kiss at the denouement, is Reilly's description of a teenage modeling session! It's a deliberately goofy, at times surreal, piece of movie fluff that is quite entertaining for those who don't demand a great deal.
