Viewed: In theatre
Release Date: March 28, 2008
writers: Michael Ian Black and Simon Pegg
director: David Schwimmer
Oh, the hipster's lament... do they go see a movie starring cerebral-geek favourite Simon Pegg and written by Stella's dryronic (dry and ironic) Michael Ian Black, or do they steer far clear of it because it's the inaugural directorial cinematic effort from still-too-popular-to-be-cool Friends star David Schwimmer. To that I say "quit trying so hard."
Run Fatboy Run is at once contrived and unexpected, a film whose plot is so utterly expected and yet it has so many moments that step it outside of its conventions. Key amongst those is Simon Pegg, taking his own pen to the script and tailoring it to a London setting, and, likely to hims own strength and his pals (co-star Dylan Moran, cameos from Extras' Stephen Merchant and Little Britain's David Walliams) who join him on the film.
Release Date: March 28, 2008
writers: Michael Ian Black and Simon Pegg
director: David Schwimmer
Oh, the hipster's lament... do they go see a movie starring cerebral-geek favourite Simon Pegg and written by Stella's dryronic (dry and ironic) Michael Ian Black, or do they steer far clear of it because it's the inaugural directorial cinematic effort from still-too-popular-to-be-cool Friends star David Schwimmer. To that I say "quit trying so hard."
Run Fatboy Run is at once contrived and unexpected, a film whose plot is so utterly expected and yet it has so many moments that step it outside of its conventions. Key amongst those is Simon Pegg, taking his own pen to the script and tailoring it to a London setting, and, likely to hims own strength and his pals (co-star Dylan Moran, cameos from Extras' Stephen Merchant and Little Britain's David Walliams) who join him on the film.
Pegg plays Dennis, a schlub who left his pregnant fiancee, Libby(Thandie Newton), on their wedding day in a fit of panic. Five years later, he's a security guard in a ladies wear store and his social life rather dim, he sees more and more clearly his biggest regret, only made worse by the appearance of Whit (Hank Azaria) in his son's life. Whit, of course, is everything he's not: successful, fit, American and, as they keep saying in the film, good looking (really?)... oh, and an implied massive penis. Unlike most films, which would immediately portray Whit as his adversary, and an unsavory character, this film doesn't, at first, and makes him out to be a pretty good guy, at first. It's unfortunate that they did turn him into a complete and irredeemable asshole, a typical Hollywood romantic comedy foil who seems more intent on screwing over the protagonist than actually investing himself into the love interest's life (A stepfather myself, I guess I couldn't help but put myself into the film a little and hope that Whit would be an even greater foil by making him a really decent guy). As I said, jockeying between the trite and the fresh.
The relationship between Whit and Dennis does become adversarial, as it seems Dennis can accept to some degree that Whit has curried Libby's favour, but when he starts encroaching on his parental territory, competing for his son's adoration, that's when Dennis becomes serious about the rivalry. With Whit a devoted marathon runner, Dennis decides that whatever Whit can do he can do... maybe. With the help of his disheveled, gambling-addict best friend Gordon (Moran) and his sympathetic landlord Mr. Goshdashtidar (Harish Patel), Dennis sets out to prove that he can, first, enter and, second, finish the upcoming marathon, with the requisite everything-rests-on-him pressure from all around.
The movie ventures between outright hilarious and cheese, genuine sentimentality and cornball cinematic romanticism. The fight sequence between Moran and Pegg will no doubt be a heavy contender for best of the year, while the climactic Terry Fox-esque run at the end of the film is teeth-achingly saccharine. Pegg makes a great everyman, his interactions with Mr. S, Libby and his son all kept very reserved, Pegg-style, and non-formulaic. The man knows how to hit on natural drama without pushing it for effect... his comedy on the other hand is broad and physical, matched with Moran's typical (and always enjoyable) drunken lush behaviour.
There are some amateurish aspects to Schwimmer's direction, awkward flashback montages and an opening few minutes which capture the scene but not nearly enough of the character. With the trite finale, he's proven he knows how to work with formula quite well, but unfortunately there's not a lot of outside-the-box work here. Being familiar with Pegg's repertoire I can sense his influence on the script, and also being familiar with Black's comedic work I can see that Schwimmer didn't get all of it. Black's usual focus is to play upon conventions to the point where they're being both mocked and revitalized, but always straight faced, rather than just straight. I suspect he likely wrote a derogatory romantic comedy script that, when read through the wrong filter, would seem like it was being played genuinely.
That said, a lot of credit goes to Schwimmer for moving the film out of its American setting and enlisting one of the UK's most bankable stars to both star and touch up the script. By sheer fact of moving the location it changes the veneer of the film and makes it less Hollywood, leaving fewer expectations, and giving it more potential for something unexpected. It certainly does have its moments.
Rating: 3/5
The relationship between Whit and Dennis does become adversarial, as it seems Dennis can accept to some degree that Whit has curried Libby's favour, but when he starts encroaching on his parental territory, competing for his son's adoration, that's when Dennis becomes serious about the rivalry. With Whit a devoted marathon runner, Dennis decides that whatever Whit can do he can do... maybe. With the help of his disheveled, gambling-addict best friend Gordon (Moran) and his sympathetic landlord Mr. Goshdashtidar (Harish Patel), Dennis sets out to prove that he can, first, enter and, second, finish the upcoming marathon, with the requisite everything-rests-on-him pressure from all around.
The movie ventures between outright hilarious and cheese, genuine sentimentality and cornball cinematic romanticism. The fight sequence between Moran and Pegg will no doubt be a heavy contender for best of the year, while the climactic Terry Fox-esque run at the end of the film is teeth-achingly saccharine. Pegg makes a great everyman, his interactions with Mr. S, Libby and his son all kept very reserved, Pegg-style, and non-formulaic. The man knows how to hit on natural drama without pushing it for effect... his comedy on the other hand is broad and physical, matched with Moran's typical (and always enjoyable) drunken lush behaviour.
There are some amateurish aspects to Schwimmer's direction, awkward flashback montages and an opening few minutes which capture the scene but not nearly enough of the character. With the trite finale, he's proven he knows how to work with formula quite well, but unfortunately there's not a lot of outside-the-box work here. Being familiar with Pegg's repertoire I can sense his influence on the script, and also being familiar with Black's comedic work I can see that Schwimmer didn't get all of it. Black's usual focus is to play upon conventions to the point where they're being both mocked and revitalized, but always straight faced, rather than just straight. I suspect he likely wrote a derogatory romantic comedy script that, when read through the wrong filter, would seem like it was being played genuinely.
That said, a lot of credit goes to Schwimmer for moving the film out of its American setting and enlisting one of the UK's most bankable stars to both star and touch up the script. By sheer fact of moving the location it changes the veneer of the film and makes it less Hollywood, leaving fewer expectations, and giving it more potential for something unexpected. It certainly does have its moments.
Rating: 3/5