Dennis is a clueless and slightly overweight guy, who left his pregnant fiancée five years earlier. Every day, Dennis tries to persuade the woman he loves to accept him back into his life, but everyday he fails. When he discovers that Libby has found a partner in the form of American Whit, frustration grows, and Dennis vows, that for once in his life, he will finish something. This something ends up being a Nike River-run in London. With his friends Gordon and Mr. Ghoshdashtidar by his side, Dennis begins training for the marathon he must finish.Written by
DIRECTOR CAMEO (David Schwimmer): In the first shot in the bus, someone is sitting six rows in front of Dennis, with his head down so you can't see his face. It's Schwimmer, watching the scene on a monitor. There was no room behind the cameraman, so he's in the shot. See more »
When talking to Whit in the street after he is arrested, Dennis puts out his cigarette but in the next shot he has it again, without lighting another one. See more »
Closing credits shown in (hard to read) foot-prints, as in a marathon runner running. See more »
Two words are dubbed over in the version shown on HBO in the United States. (1) While in the bun shop, the little old lady calls Dennis a "prick" instead of a "cock". (2) When Libby is showing Gordon the bathroom, he says that he put on Italian loafers and they "hurt like hell" instead of "hurt like fuck". In both instances, the actor's mouths are clearly mouthing the correct words, which are also shown in the closed captions. See more »
54-46 Was My Number
Written by Toots Hibbert (as Frederick Hibbert)
Performed by Toots & The Maytals (as Toots and the Maytals)
Courtesy of Island Records Ltd. (United States)
Under license from Universal Music Operations See more »
Occasionally when editors send reviewers a list of new and upcoming films, a kind a war-weariness can set in: even more so when one's gut feeling suggests an obvious divide between worthwhile cinema and the barrage of rather missable comedy. Even more so when a film in question has not risked journalistic censure by having an advance press screening. I am not one of the many people who thrilled excitedly to Simon Pegg's efforts in Shaun of the Dead or Hot Fuzz. And I was even less impressed the last time he joined forces with David Schwimmer in Big Nothing. So it was with a feeling almost of self-sacrifice that I volunteered to sit through Run, Fat Boy, Run. Which doesn't even have car chases or zombies to recommend it.
The surprise was that it is actually quite good.
Simon Pegg studied drama at university but earned his spurs in working life as a stand-up comedian. Which perhaps explains why his timing is so split-second perfect. The gags in Run, Fat Boy, Run are not that remarkable. At times you can even see them coming. But the performance and skillful delivery is so polished that they are entertaining anyway.
Run, Fat Boy, Run uses a formula that has served Pegg and his growing fan base well: he is the nerd who eventually turns hero. We feel sorry for him, irritated by him, repelled by him. He's the well-meaning hopeless case we just want to 'fix'. So the audience is relieved and rooting for him by the time he makes good. We are fully behind him by the time he makes his resolve that he is "sick of being a 'nearly-man'." In this present incarnation, Pegg (Dennis) has an attack of nerves just before getting married. He runs out on his gorgeous wife-to-be Libby (played by Thandie Newton) - literally - running off as she stands in the road in full bridal dress. And pregnant.
Five years later, Dennis is working as a security guard at a women's clothing store. The predictable jokes are spoon-fed us faultlessly. Pegg rescues any situation that threatens to become too silly by a look of open sincerity (rather like Ricky Gervais does with political humour). But Pegg seems to have an instinctual grasp of cinema that enables him to extract the best results from his material. On a hot Saturday afternoon, and with strong competition from much publicised movies, the auditorium was fairly packed.
The second theme from the film's title comes from Dennis' decision to run the London marathon. This is mostly to 'prove' something to Libby (for whom he has now discovered undying love) but also to win a bet for his mates and to prove himself equal to Libby's super-fit, super-rich, super-handsome suitor, Whit. His five-year old son provides the magic glue to pull all the elements of the story together.
In a wise choice, the filmmakers avoid anything that might belittle the Marathon (given that many UK viewers may have a deep respect for the institution). But they also bring in much underused and very photogenic shots of London en-route - particularly the Docklands area.
With such a vanilla story line, Run, Fat Boy, Run is relying on Pegg's reputation to pull in audiences. I suspect that many of his fans may be occasional movie-goers who simply demand something light and untaxing. He has the ability to make a futile chase after stolen women's underwear amusing. When he seems to be rubbing himself off against a shop mannequin it could be a pathetic or tacky sketch in any other hands, but his wide-eyed expression and fast pacing move us from one joke to the next before we have time to analyse.
I wasn't bored. And I had expected to be. In fact I was laughing loudly. It reminded me of when JM Barrie had planted children in the audience of his first performance of Peter Pan. It helps to be in the company of people who see the joke. Run, Fat Boy, Run has not made me a convert to Pegg's brand of humour even if I enjoyed the film, but I have to admit that he is good at his job. Sometimes it is the difference between a sterile press screening and an audience of fans. On this occasion, marketing gets the benefit of the doubt.
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