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.
Number one 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
Two salesmen whose careers have been torpedoed by the digital age find their way into a coveted internship at Google, where they must compete with a group of young, tech-savvy geniuses for a shot at employment.
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
In the credit scene, Tim Wattley is said to be a Greek fugitive. This is a reference to Zach Galifianakis' Greek heritage. See more »
After Cam is arrested, a reporter approaches him and asks "You were charged with drunk driving. Is it true you blew a 1.4?" A BAC of 1.4 would almost surely be lethal; at the very least, Cam would surely have been hospitalized, not walking around talking with reporters. It's possible that the character simply misspoke, meaning instead to say 0.14 which is above the legal limit for driving in all states and a much more believable BAC value. 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 »
An Extended Cut running an extra 10 minutes is available on the Blu-ray. As well as inserting new scenes not seen in the theatrical cut, the drunk-driving scene plays out in a significantly different way. Cam has new dialogue as he steals the cop car, and he doesn't lose control and hit a cow - he realises what he's done, turns the car around (hitting a dumpster) and then drives back to the cop, who arrests him. 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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