Dave is a married man with three kids and a loving wife, and Mitch is a single man who is at the prime of his sexual life. One fateful night while Mitch and Dave are peeing in a fountain, lightning strikes and they switch bodies.
Set in 1882 in the American west, Albert is a lowly farmer with a nice girlfriend. But when she leaves him for the more successful and handsome owner of a moustachery store, Albert returns to his lonely daily life of trying to avoid death. Then the mysterious Anna rides into town and captures Albert's interest and heart, but with her deadly husband in town, Albert is going to have to become the western gun-slinging hero he never was. It won't be easy because there are a million ways to die in the west.Written by
At the beginning of the film they show a picture of a women who they say is Miss America 1880. Miss America did not start until 1921. See more »
Some people are born into the wrong time and place. This was the American frontier in 1882, a hard land for hard folk. Food was scarce, disease was rampant, and life was a daily struggle for survival. Hell, this was Miss America in 1880.
[picture of a leathery middle-aged woman]
Holy shit. To build a home and a life in this harsh, unforgiving country required that a man be bold, fearless, and tough as iron. The men who were courageous and resilient were the men who prospered. But ...
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There is a post-credits sequence involving the gunman at the fair from the final scene. See more »
Yeah, yeah; it's getting lacklustre reviews, and I half understand why.
It's not a timeless piece of comedy, but it's got spunk, wonderful production values, inspired comedic acting (even the 'bit' roles), and it has well-turned moments of stunningly genuine romance. Of note: If other comedy films are "better", why did I find more good ol', down-home belly laughs in this one? I think I know why: Sure, MacFarlane can play it blue and scatological, but he also values that other timeless comedic tradition; that which is Truly Funny Because It Is True.
Special Mention for Sarah Silverman. I think she struggles to reach out and touch with her unique and beautiful style, and goes largely unappreciated. MacFarlane gave her a great vehicle, and she lived up to it with the kind of aplomb and vivacity that I've certainly come to expect from her. I sincerely hope moviegoers will recognize this and watch her career with heightened expectations.
One thing I thought a bit odd: The Onion reviewer's main critique was that MacFarlane was "recycling" gags. I was half-expecting to find a tiresome rehashing of a few gags. I started watching, and found it engaging and surprising.
Anyway, it sorta looks like the horse is out of the barn. The flick did sh1t at the box office, and it'll go to DVD and maybe recoup its outlays. Too bad! It deserves better.
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